During the mid-nineteenth century, Earthworks, or land art, started to arise as a new art movement. Many Earthworks artists were “seeking ‘a world outside of cultural confinement’” (1. Doss, American Art of the 20th-21st Centuries, 198.). During the 60s, much of the United States was under very conflicting times starting with Kennedy and space programs promising a lot, and then ending close to nuclear war. Because of this, the Earthworks artists were looking to escape this social and political confusion, while returning back to one of the oldest subjects, the landscapes of Earth. From the beginning of art in the Americas, the landscape was a popular theme. With this movement, artists started taking the landscape as a subject and moving it to the media. The landscapes went from being on the canvas to being the canvas. These works seemed to be “as paradoxical as the time in which they were made, sharing both the look of Minimalism and the […] process orientation of Conceptual and Anti-Form art” (1. Doss, American Art of the 20th-21st Centuries, 198.).
With this, artists are given the ability to try to create that feeling one might get while standing at the edge of the Grand Canyon. The feeling of vastness, of unimaginable depths, of smallness, and most importantly, of time. This movement started after artists began to recognize the limitations that came with a canvas and the confinement of the gallery space. One artist that recognized this was Morris, who asked “’Why not put the work outside and further change the terms?’”, which later influenced Earthworks artists (1. Doss, American Art of the 20th-21st Centuries, 179.).
By using Earth as a canvas, it increases artists’ opportunities immensely, while challenging them in new aspects that aren’t applicable on a canvas, or even in a gallery space. Many critics talk about Earthworks “embodied a cool and authoritarian search for order and control amidst an era of social and political turmoil”, while others just state that the artists are “experimenting with new media and materials and aggressively interrogating what they perceived as limiting formalists understanding of modern American Art” (1. Doss, American Art of the 20th-21st Centuries, 173.). Most Earthworks prove to be some sort of combination of the two, escaping the confusing implications of the time, as well as exploring a completely new form of art. Two artist that took this new movement, and implemented it into their work are Robert Smithson and Hélio Oiticica.
During the second half of Robert Smithson’s artist career, he became one of the most well-known landscape artists of his time. Although he died at a young age, Smithson’s artwork, as well as his writings and ideas, started an avalanche of thought and exploration into landscape art, and site-specific works. Smithson was among one of the first landscape artists to explore the vast canvas of Earth, showing the importance of time, site-specificity, and nature vs. technology in his work.
Smithson was an American artist who had an obsession with the idea of time. He was frustrated with the thought that many artist viewers, and critics, disregarded time, making the “art, in this sense, […] considered ‘timeless’ or a product of ‘no time at all’” (2. Harrison, Art in Theory, page 880.). Smithson believed that “this becomes a convenient way to exploit the artist out of his rightful claim to his temporal processes” (2. Harrison, Art in Theory, page 880.). This is interesting because there are many artists, and many art viewers, as well as critics, that look for ‘timeless’ art. Many even would argue that for something to be great art, it needs to be ‘timeless’. However, in the eyes of Smithson, he believes that by disregarding the time put into the piece, the time in which the piece was created, and even the age of the tools and techniques used, there is a key aspect of the work that is missing. All of these things need to be understood, and appreciated, in order for the work to be whole. This makes the piece ‘time-sensitive’ in a way, but it also allows the work to be viewed years later, but the quality of time it possesses to not be hidden.
In regards to time, Smithson also had a fascination in the time quality of materials. When looking at steel, one of the most technologically valued metals, Smithson found an interest in not only the material itself, but how it changed in accordance to time. Smithson stated that the more he thought “about steel itself, devoid of the technological refinements, the more rust becomes a fundamental property of steel” (2. Harrison, Art in Theory, page 879.). However, rust is a natural process, as well as other mineral disintegration processes, and by embracing and learning about this characteristic of the steel, the impurities of the substance become more obvious, making the material, and whatever object it forms, more venerable. This is beautiful in a sense that the structure the steel takes, with all the impurities, is not only more structurally venerable, but in a sense, emotionally too. By making a piece more venerable, it is more relatable to the viewer as well.
This brings forth the relationship between time and materials used. It is easy to see that part of what drew Smithson to use landscapes as his canvas was his fascination with the idea of time and nature, with each layer of the rock telling a different story, being from a different time. By using rock and layers of the earth as material, there is an inherent time quality that comes with it that is much older than that of other natural forms, such as trees and flowers, that have a faster pace speed of change.
Smithson’s interest in Earth’s surface starts with the similarity of it and the mind, how they’re both “in a constant state of erosion” (2. Harrison, Art in Theory, page 877.). To Smithson, the best way to have no limitations, to work at a far greater scale than ever before, and to create a sense of time, was to work with the Earth itself. The greatest scale to work on, was the largest one, imitating the natural forces themselves.
One of Smithson’s best known work is the Spiral Jetty. The Spiral Jetty is located on Rozel Point on the Great Salt Lake in Utah. This location attracted Smithson because of its remote location, the reddish quality of the water caused by the bacteria in the lake, and the natural materials around the site (3. Heinig, Spirals in Nature). The high amount of salt in the lake leaves its mark on the rocks and emphasizes the erosion process, which relates to Smithson’s fascination with time. The Spiral Jetty is made of rocks and earth that were gathered from around the site. It is 1,500 feet long and 15 feet wide. It was submerged under water shortly after it was finished, and remained under for many years, until recently, when it has become visible again (1. Doss, American Art of the 20th-21st Centuries, 173.).
Yes, Smithson could have chosen to build the Spiral Jetty in a number of other places, but his choice of the Great Salt Lake demonstrates his strong interest in time, especially in relation to the environment. First, it is a long, very rural, road to get to the work. It takes hours of slow driving. One must have the dedication, and the patience in order to get to the piece itself. Smithson even incorporates time into the lead up to his piece this way.
Like a photograph of a national park, one cannot fully understand the complexity of one of his works without experiencing it in person. In an essay written by a viewer of the work said, “’I’m grateful. Grateful because I saw the work on September 25, 2010 and no one will ever replicate the experience of seeing it on that day, for it reinvents itself with every change of light, tide, and weather (4. Taylor, A Monument to Paradox and Transience). If it was during a lightning storm, the viewer might experience a sense of isolation, the cold choppiness of the water, the feeling of adventure with electricity in the air. Or, it would be during a sunset, where the sky emphasizes the pink toned, more relaxed water, making it easier to walk out onto the piece. Depending on the strength of wind, the strong smell of salt in the air could remind the viewer of beach days growing up with the soothing soft colors all around. Smithson, relishing the changeable nature of the environment, creates his pieces to be experienced, with each time being new because of the sensitivity to time. As mentioned in the Salt Lake Tribune, “Time becomes this pretty potent medium that is embedded in the Spiral Jetty” (5. Means, The Spiral Jetty, and more: Utah’s Most Famous Artwork – from A to Z).
Another artist that tackles the same challenges as Smithson, but in a slightly different way, is Hélio Oiticica. Oiticica was a Brazilian artist who was a part of the Neo-Concrete movement. The elements that were so integrated into Neo-concrete art were “the notions of time, space, form, [and] color” (6. Barnitz, Twentieth-Century Art of Latin America, 243.). Oiticica used these elements and focused them on the integration of his art with the viewer’s experience, with a total sensory experience. Once he moved from paintings to ‘penetrables’, Oiticica was focused on having the viewer as an active participant. Penetrables are works that create a space for viewers to walk through. With this transition, Oiticica created three-dimensional pieces like the rectangles of his paintings. By walking through these works as a viewer, Oiticica creates an experience that was more than visual, but also created “progressive color intensities affect[ing] one’s perception of temperature as well as senses of vision and touch” (6. Barnitz, Twentieth-Century Art of Latin America, 243.).
Similar to Smithson, it is hard to ignore Oiticica’s interest in time, but in a different way. While Smithson was interested in the time-sensitivity to his materials, as well as the different experiences that happen at different times, Oiticica seemed to be more interested in the spatial implications of time. As he focuses on the viewer’s experience with the work, time plays in integral part in the following ways: the speed at which the viewer moves through the piece, the age of the viewer, and the time of day the work was experiences.
With any piece of work, the viewers experience of the work depends on the time a viewer spends with it. However, with Oiticica’s works, the three-dimensional environment is more time sensitive because of its multi-dimensional qualities. The experience of running through Oiticica’s colorful penetrables would be very different then slowly walking through work. The age of the viewer is also integral. The bright colors might be somewhat realistic, comfortable, and playful to a child, but more nostalgic, cartoonish and intense to an older person. The time of day that the work is experienced in is more important to the outside works of Oiticica’s, but even in his enclosed environments, the time of day effects the mental state of the viewer, whether they are tired, energized, full of thought from the day, or a blank slate from a fresh start. The mental state of the viewer will affect how they experience of the work because they will be trying to find ways to relate to the piece.
Another contrast to Oiticica’s and Smithson’s work is the use and importance of materials. Smithson tended to lean towards materials that were prevalent in that location and that were directly affected by time. On the other hand, Oiticica tended to focus on brighter, more non-realistic materials that contrasting against the natural setting they were placed in, whether it was outside, or in an indoor simulation. As discussed above, a lot of Oiticica’s three-dimensional works were direct translations from his older square paintings, which were brightly colored. This abstract intensity continued into these three-dimensional works. Because of this, Oiticica’s penetrables have an almost fairy-tale like, unreal quality to them, but at the same time have qualities that “effortlessly span the gap between Modern and Postmodern, Minimal and Post-Minimal” (7. Smith, A Short, Intense Career Marked by Vibrant Color).
However, even though the materials Oiticica uses don’t necessarily match the surroundings, many of his penetrables imitate the brightly colored buildings of the favelas, or slums, that surround Rio de Janeiro. Even though most of Oiticica’s works are traveling the world, or permanently located outside of Rio de Janeiro, he still brings a personal environment from his past into the more present environment. Similar to Smithson’s work, Oiticica brings a personal aspect into his work. However, while Smithson’s work has the personal touch added by the viewer, depending on their unique experience, Oiticica adds to this similar personal experience by also adding in a touch of his personal history and culture. By bringing in the favelas coloring to his penetrables, Oiticica is also making a somewhat political gesture by bringing a sad, maybe uncomfortable topic of poverty and holding it on the same level of art. This broken barrier is seen again and again throughout art history by bringing the everyday middle-class, and now lower-class, into art, contradicting the social norms of the time.
One of Oiticica’s works is the Magic Square #5. This work is permanently displayed at Inhotim, which is a contemporary art museum located in Eastern Brazil that contains hundreds of installations, land works, and galleries with work from artists around the world. Magic Square #5 is part of a group of six works that are made up of large, different colored squares arranged to create a plaza, “articulated around the idea of a square in both senses of the words as a geometric shape and as a public plaza” (8. Ihotim, Invencao da cor, Penetravel Magic Square #5, De Luxe). The pure immensity of the squares compared to the human figure creates a similar, overwhelming feeling of vastness that a range of mountains, or a line of skyscrapers, may create. Based on the Neo-Concrete ideals, this work, belonging to the penetrables, was focused on “the occupation of space by color [taking] on an environmental space, proposing a renovation of architectural space” (8. Ihotim, Invencao da cor, Penetravel Magic Square #5, De Luxe). Although the design and style are purely Oiticica’s, this specific work was constructed posthumously, in attempts to further his legacy and “ambitious proposal of linking art and life” (8. Ihotim, Invencao da cor, Penetravel Magic Square #5, De Luxe).
Differing from Smithson’s Spiral Jetty, Magical Square #5 creates a different purpose. While, Smithson’s work created a more individual, unique experience, Oiticica’s work has a purpose of being a ‘square’ in the sense of a plaza, with a purpose to bring people together as a local gathering spot. Especially regarding their chosen locations, this statement is backed up. The Spiral Jetty takes hours to get to, and is in a very isolated, desolate part of Utah. On the other hand, Magic Square #5 is centered in a giant collection of land works and galleries, and is intended as a meeting spot. The selection of the location of these works play a major role in the meaning of the works. Spiral Jetty focuses on the individual, the experience of the process as well as the location, and the unique qualities of both the location and the moment in time at the location. On the other hand, Magic Square #5 focuses on the bright colors, often used in celebrations, the double-meaning of ‘square’ and the ability to bring people together using color on an environmental scale. Even if the viewer is experiencing Oiticica’s work alone, they are still “getting the live contact” with either other viewers, or “with the forms, colors and materials” themselves (8. Ihotim, Invencao da cor, Penetravel Magic Square #5, De Luxe).
Like most movements during the 20th century, Earthworks were often influenced by other movements of the time, specifically the indigenismo movement. The indigenismo movement was focused on bringing back subjects, techniques, and segments of Latin American society, but with a more modern twist. These works are often influenced by ancient Latin American monuments, like Machu Picchu, or old patterned Mexican textiles. In some ways, both Spiral Jetty and Magical Square #5 have an indigenismo influence. Spiral Jetty takes in a lot of the uses of natural resources to build monuments due to the natural, site-specific resources that construct the spiral. The shape itself is also influenced by philosophical thoughts and interests with space and the constellations that are consistent with some of the beliefs of the time, especially the Mayan culture. On the other hand, Magical Square #5 consists of the brightly celebrated colors of a lot of Latin American cultures, as well as creates a structure similar to Stonehedge. Even though Stonehedge is in Europe, the idea of ancient monuments, and going back to the old to better the new is still prevalent.
In conclusion, Earthworks started to overtake the direction of the art world in the late 20th century as a rebellion to the political and social ramifications of the time, and at the same time creating a larger ‘canvas’, as well as new medium in the art world. This movement was also a continuation of modern rebellion against the elite, exclusive art world and galleries. Both land artworks by the American artist Smithson and the Brazilian artist Oiticica produce different experiences and interpretations of the time, but both have fixations on the elements of time and viewer experience, as well as an indiginismo influence. These works are few of many of the works that “are awe inspiring, consecrated spaces for a willfully secular era”, as well as providing a more spiritual experience of the art, drawing an audience that aren’t looking to collect or simply look at it (1. Doss, American Art of the 20th-21st Centuries, 201.).
Bibliography:
1. Erika Doss, American Art of the 20th – 21st Centuries, Oxford: University Press, 2017.
2. Charles Harrison, Art in Theory 1900 – 2000: an Anthology of Changing Ideas, Blackwell Publishing, 2014.
3. Lindsey Heinig, Spirals in Art and Nature, Utah Museum of Fine Arts, 2015.
4. Rebecca Taylor, A Monument to Paradox and Transience, Khan Academy, 2015.
5. Sean Means, The Spiral Jetty, and more: Utah’s most famous artwork – from A to Z, The Salt Lake Tribune, 2017.
6. Jacqueline Barnitz, Twentieth-Century Art of Latin America, University of Texas Press, 2015.
7. Roberta Smith, A Short, Intense Career Marked by Vibrant Color, New York Times, 2017.
8. Inhotim, Invencao da cor, Penetravel Magic Square #5, De Luxe, 1977.
Originally published 15.10.2019