scholarly journals Lagoinha B

POIÉSIS ◽  
2021 ◽  
Vol 22 (37) ◽  
pp. 229-242
Author(s):  
Lucas Rossi Gervilla
Keyword(s):  
Robert Smithson

Lagoinha B é - ou deveria ser - um conjunto habitacional formado por 66 casas, na cidade de Lagoinha-SP. As obras começaram em 2018. Menos de um ano depois, a construtora responsável abandou as obras. Não se sabe onde foram parar os cinco milhões e novecentos mil reais destinados à construção. 66 famílias permanecem sem direito à moradia. O canteiro de obras se converteu em um cenário que o artista Robert Smithson chamaria de “ruínas ao contrário”, pois as estruturas começaram a ruir antes mesmo de ficarem prontas. Este ensaio faz parte da pesquisa de doutorado de Lucas Gervilla, intitulada Estéticas do Abandono: lugares abandonados, ruínas, memória e arte, em desenvolvimento  no Instituto de Artes da UNESP.

Mobile Perception and the Automotive Prosthetic

Transfers ◽  
2011 ◽  
Vol 1 (1) ◽  
pp. 73-96 ◽  
Author(s):  
Charissa N. Terranova
Keyword(s):  
Urban Sprawl ◽  
Human Body ◽  
Conceptual Art ◽  
Robert Smithson ◽  
Martha Rosler ◽  
The World ◽  
1960S And 1970S ◽  
The 1960S ◽  
And Linguistics

This essay focuses on a body of photoconceptual works from the 1960s and 1970s in which the automobile functions as a prosthetic-like aperture through which to view the world in motion. I argue that the logic of the “automotive prosthetic“ in works by Paul McCarthy, Dennis Hopper, Ed Ruscha, Jeff Wall, John Baldessari, Richard Prince, Martha Rosler, Robert Smithson, Ed Kienholz, Julian Opie, and Cory Arcangel reveals a techno-genetic understanding of conceptual art, functioning in addition and alternatively to semiotics and various philosophies of language usually associated with conceptual art. These artworks show how the automobile, movement on roads and highways, and the automotive landscape of urban sprawl have transformed the human sensorium. I surmise that the car has become a prosthetic of the human body and is a technological force in the maieusis of the posthuman subject. I offer a reading of specific works of photoconceptual art based on experience, perception, and a posthumanist subjectivity in contrast to solely understanding them according to semiotics and linguistics.

scholarly journals Aesthetics in a Changing World—Reflecting the Anthropocene Condition through the Works of Jason deCaires Taylor and Robert Smithson

2021 ◽  
Vol 13 (2) ◽  
pp. 414-432
Author(s):  
Philip Hüpkes ◽  
Gabriele Dürbeck
Keyword(s):  
Double Bind ◽  
Robert Smithson ◽  
The World ◽  
Changing World

Abstract This article focuses on an important aspect of aesthetics in the context of the Anthropocene: the situatedness of aesthetic techniques and operations within earth’s (changing) materiality. Aesthetics is not only a way of making sensible but also contributes ontologically to the world it makes sensible. In this view aesthetics does not rely on a subject’s capacity to apprehend the world as a perceptually objectifiable entity. Focusing on works by Jason deCaires Taylor (Anthropocene and La Gardinera de la Esperanza) and Robert Smithson (Spiral Jetty), the authors interrogate how artistic engagements with anthropocenic materiality and temporality have the potential to articulate a double bind between aesthetics and ontology. Both artists not only allow recipients to be confronted with complex earthly entanglements but also have a material and aesthetic impact on their respective sites. Discussing deCaires Taylor’s and Smithson’s works, the authors argue that the artists’ aesthetics is not only a way of granting experiential access to an earth that resists objectification but also a manifestation of the processes through which earth’s materiality transforms throughout time.

Robert Smithson : une critique en actes de la photographie

1991 ◽  
Vol 13 (1) ◽  
pp. 77-89
Author(s):  
Alberto Velasco
Keyword(s):  
Robert Smithson

Creative Destruction and Urban Space

2021 ◽  
pp. 97-126
Author(s):  
Miles Orvell
Keyword(s):  
World War Ii ◽  
Life Cycle ◽  
Urban Renewal ◽  
Urban Space ◽  
Creative Destruction ◽  
Subsidized Housing ◽  
World War ◽  
Post World War Ii ◽  
Robert Smithson ◽  
The City

This chapter focuses on the deliberate destruction of the city (“creative destruction”), clearing out older buildings to make way for newer, more profitable ones. Penn Station’s demolition is the most notorious example, and the chapter examines the way photographers represented its demise and how it ignited a new preservation movement. Life magazine carried the story of urban renewal through the post–World War II period, including its coverage of the demolition of the Pruitt-Igoe project in St. Louis, which came to symbolize the failures of government-subsidized housing. While creative destruction was considered a necessary cornerstone of capitalism, artists were critiquing the process in works of parody (Robert Smithson) and in the dramatic dismantling of buildings (Gordon Matta-Clark). The whole question of the “life cycle” of buildings and cities is considered, focusing on the work of Alan Berger in his theory of “drosscape” and in Rem Koolhaas’s notion of buildings with a fixed life.

Robert Smithson: a rhetoric of movement

Word & Image ◽  
2018 ◽  
Vol 34 (4) ◽  
pp. 363-371
Author(s):  
Peter Muir
Keyword(s):  
Robert Smithson
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