It was during this time that Smithson switched focus from painting to sculpture and became interested in minimalist art. He became absorbed in mathematics and thermodynamics, and started using new materials glass sheet and neon lighting tubes in his works - see for instance Enantiomorphic Chambers - to experiment with visual refraction and mirroring. In the process he became affiliated with artists like Robert Morris b.
To widen his artistic self-expression he turned to writing, and outlined his theories in a number of reviews and essays for Arts Magazine and Artforum.
Land Art: Installations and Earthworks. In , inspired by his exploration of industrial areas in New Jersey, where he witnessed large-scale building excavations, he produced a series of works called Non-Sites. This was a form of installation art consisting of photographs and plans of site locations mostly derelict urban areas , which were displayed along with earth, rocks and other geological refuse collected from the sites. As Smithson explained: 'Instead of putting a work of art on some land, some land is put into the work of art.
These small-scale works often featured mirrors, whose reflections created an apparent displacement of space. Open main nav. X Close main nav Home. Fullscreen toggle. Smithson with an early painting, ca. Fullscreen toggle Smithson with an early painting, ca. Photo booth snapshots of Robert Smithson, Fullscreen toggle Photo booth snapshots of Robert Smithson, Influences on Artist.
Allan Kaprow. Donald Judd. William S. Carl Andre. Claes Oldenburg. Robert Morris. Nancy Holt. Virginia Dwan. Abstract Expressionism. Conceptual Art. Landscape Architecture. Walter de Maria. Richard Long. Hans Haacke. Michael Heizer.
Richard Serra. Land Art. Installation Art. Much of this work seems to have been influenced by Barnett Newman. Smithson's painting titled "Quicksand" received critical attention in the United States and Europe. This abstract painting was done in gouache and had pieces of paper stapled onto it. This painting enabled Smithson to have a solo exhibit in Rome in While in Italy, Smithson developed a fondness for Byzantine culture. He regretted that art had moved beyond this point, and detested the Renaissance.
The desire to learn and understand primal sources and ancient mythology remained with Smithson until his death in In , Smithson's art seemed confused. He had a solo exhibition in New York City in which he showed such things as a stuffed pigeon taken apart and pasted on a board, paintings of scientific diagrams, and rows of pickle jars filled with specimens the artist had concocted and given scientific-sounding names.
He also spoke at Yale University with three art critics on the topic "Art in the City," and published his first articles on art. An architect who heard Smithson's speech at Yale invited him to be part of the designing and building of the Dallas-Forth Worth Airport. Smithson stayed in Texas in and as a consultant to the architecture firm. His first proposal for the airport was to have earthworks on the edges of the airfield that people would see during take-off and landings.
Smithson became more interested in the actual structure of the building and was involved in the boring of holes to take earth samples. Smithson's ideas for the airport were never realized because the architect firm lost the airport contract. From to , Smithson helped organize an exhibition with Ad Reihardt and Robert Morris, had four solo exhibitions, and was included in two group shows in New York City.
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