500 word TranscriptPRESENTATION 2012 Phillip O’Sullivan

Who Rules The Art World

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NOTES Hal Fosters book includes reprint of Krauss article2Things artworks themselves/provenance/auctions/openings/networks/advertising etcTexts do discourse/buzz/texts/catalogues/essays/articles/magazines/Works themselves only as good as your last exhibition.Money doesPatrons funding GovernmentPrivateFoundationsMuseumsArtists/critics/theorists/

PeopleCritics/artists/curators/

FOUNDATIONS DIA ART Rosalind Krauss/ Robertsmithson /Spiral Jetty… Pearl Oil Exploration Utah State Lands/ 25 year lease lapsed KRAUSS details… dia art foundationROBERT SMITHSON detailsDia Art Foundation Beacon NY state Hudson River ValleyChelsea Art Dia Chelsea Dan Flavin/ Bill CulbertOil Company/Lease/ Utah State/Tax breaks Essay… quoteSpiral Jetty 25 year lease/20 year drought operates 1979 article date for workHighest level…fraught freighted with conspiracy solution Leninist one/NEP.. tsaristNEED ‘them’ to run things/ Naomi Klein footnote virtual wealth in play 1percent… cAPITALISM Usury/accumulation compound interest muslim demographics. Implicated.

PLAN

Explore possible connections and relations horizontal/ across artworldVertical…from viewer/consumer patron/critic exhibitor/fundor foundation etc capitalism/system tax breaks

Hi Erna

I shall talk on 'Who Rules The Artworld' framed as a discussion around questions of patronage and the economics of Art Foundations as Institutions.

I hope to cover a few small extra matters arising from the first Essay.Focussing on the Spiral Jetty and the Dia Art FoundationMy text will spring forth from the two small Marxist texts in the readings (Marx. Engels)Either of these Images will Do..-5 is 'the twenty year high & dry' period, illustrated...-7 are the hands of the original contracter, twenty or so years later, over the original drawing that Robert Smithson gave him to b

PhillipBook Review

Earthworks: Art and the Landscape of the Sixties. By Suzaan Boettger. 316 pp. incl. 14 col. pis. + 97 b. & w. ills. (Uni versity of California Press, Berkeley, Los Angeles and

London, 2002), $50/^35. ISBN 0-520-22108-7. Reviewed by LYNNE COOKE Dia Art Foundation, New York SUZAAN BOETTGER TAKES her Subject Earthworks as an art form of the 1960s, whereas for most of its principal exponents and analysts the momentum lasted well into the 1970s, and thus much beyond the untimely death of its most celebrated prac titioner, Robert Smithson, in 1973. For Boettger, 'the debut of the genre' was in October 1968, with the opening of the Earthworks show at the Dwan Gallery, New York (p.i); and chapter 7 in her study is entided '1969: Endings and Dispersals'. Yet most of the major works in this vein were only begun (if not always realised) in the 1970s, notably Smithson's Amarillo ramp (! 973-74); Michael Heizer's City project, begun in 1972 and just now nearing com pletion; Walter De Maria's Lightning field in New Mexico, sketched in 1974 but com pleted in 1977; James TurrelTs Roden Crater project, first mooted c.1974 and, again, only now approaching completion; Nancy Holt's Sun tunnels (1973?76); Charles Ross's Star axis (1971 and ongoing). Robert Morris's Grand Rapids project (1973?74), the first of many land reclamation art works in the US that were paid for with public

known under the rubric of Environmental Art which, arguably, is the most enduring legacy of these Earthworks to date. While few of the protagonists saw their roles as part of a movement per se, nonethe less Earthworks, or Land Art, as it is some times known, was identified and launched via several exhibitions, some organised by the participants themselves. The first of these, the historic Earthworks show in October 1968, featured some twelve artists, including Sol Le Witt, Carl Andre, Claes Oldenburg and Morris, not generally asso ciated with the genre, as well as Heizer, De Maria and Smithson, who are customar ily recognised as its leading exponents. Smithson was a prime mover in this show together with the gallerist Virginia Dwan who, shortly after, partially financed the construction of Heizer's Double negative (1969-70), and De Maria's test piece for the Lightning field (1973-74), in addition to Smithson's Spiral jetty (1970). A second show, entided Earth Art, staged in early 1969 at the Andrew Dickson White Muse um of Art in Ithaca NY, included a roster of Europeans alongside their American peers. Boettger's avowed enterprise, reflected in the book's subtide, is to focus on the early years in the United States during which Smithson played a seminal role as theorist, advocate and instigator. It is never stated whether this focus was determined in part by the fact that she had access to records and archives from the Smithson estatepart by the fact that she had access to records and archives from the Smithson estate but no co-operation from either Heizer or De Maria, who, exceptionally, even refused permission for their works to be illustrated in this book. While much controversy still surrounds issues of priority in this field (and gready preoccupies Boettger who speaks of being referee to the claims of its principals; p.236), most art historians today prioritise broader and more substantive issues, not least the relationship of this multifaceted mode to other contemporaneous vanguard practices, some of which Rosalind Krauss memorably defined as 'sculpture in the expanded field', in an important essay of 1979, not referred to here. (Nor is Craig Owens's provocative counter-argument Earthwords (1979), which relates this phe nomenon less to environmental/architec tural modalities than to a more encom passing language-based discursive field, as addressed in his text.) That Boettger's grasp of recent scholarship is tenuous may be gauged from her astonishing claim that Benjamin Buchloh has promoted Minimal ism as a form of institutional critique (p.209). More substantively, given the benefit of over three decades' hindsight, the now mature uvres of these artists, and a wealth of extensive research, it is arguable whether Land Art is best treated as a move ment analogous to those that chart the his tory of vanguard Modernist art or, rather, as a brief, strategic confluence of radical artis tic trajectories representing what ultimately proved to be different aesthetic persuasions. In this respect, it is fundamentally more

Burlington Magazine October 2003Guggenheim

Museum, New York, the famous rotunda spiralled up and awayfrom sight, into a chaste light, whiter than usual.

Spiral of the GUGGENHEIM…………………………………………………………………………………. "Theweleit and Spiegelman: Of Men and Mice." Remaking History. Ed. Barbara Kruger and Phil Mariani. Dia Art Foundation Discussions in Contemporary Culture 4. Seattle: Bay, 1989. 151-72.

"We Were Talking Jewish": Art Spiegelman's "Maus" as "Holocaust" ProductionAuthor(s): Michael Rothberg and Art SpiegelmanReviewed work(s):Source: Contemporary Literature, Vol. 35, No. 4 (Winter, 1994), pp. 661-687Published…………………………………………………………………….

Word Count 3003/zero 3081/zero 3855/zero 4213/zero 8252/zero…………………………………………………………….Bibliography1. The key references are Craig Owens' essays on Robert Smithson: "Earthwords," October 10 (Fall 1979): 121-130; and "The Allegorical Impulse: Towards a Theory of Postmodernism," October 13 (Summer 1980): 49-80. 2. Lynne Cooke and Karen Kelly, eds., Robert Smithson: Spiral Jetty: True Fictions, False Realities (Berkeley, Calif.: University of California Press; New York: Dia Art Foundation, 2005); Ann Morris Reynolds, Robert Smithson: Learning from New Jersey and Elsewhere (Cambridge, Mass.: MIT Press, 2003); Eugenie Tsai et al., Robert Smithson (Berke ley, Calif.: University of California Press, 2004); Ron Graziani, Robert Smithson and the American Landscape (New York: Cambridge Univer sity Press, 2004). 3. Cooke and Kelly, Spiral Jetty. 4. Jonathan Crary, Techniques of the Observer: On Vision and Modernity in the Nineteenth Century (Cambridge, Mass.: MIT Press, 1990), p. 7. 5. Jacques Derrida, "Structure, Sign, and Play in the Discourse of the Human Sciences," in Writing and Difference, trans. Alan Bass (Chicago, 111.: University of Chicago Press, 1978), p. 292. 29References

Footnotes

Consciousness UNIVERSAL Symbolconsistency is far betterexplained by the fact that people of all ages and cultures havesimilar brains, and those brains react in similar ways to stress, fear,lack of oxygen, or the many other triggers for NDEs.All these triggers can cause the release of pleasure-inducingendorphins, and can set off random neural activity in many parts ofthe brain. The effects of this random activity depend on thelocation: activity in visual cortex produces tunnels, spirals, andlights (as do hallucinogenic drugs that have similar neural effects);activity in the temporal lobe induces body image changes andOBEs, and can release floods of memories; and activity in otherplaces can give rise to visions of many kinds, depending on theperson’s expectation, prior state of mind, and cultural beliefs. Thereis no doubt that many people really are changed by having an NDE, Near Death Experience ConsciousnessSusan Blackmore (2005)CONSCIOUSNESSA Very Short Introductionpg111"About Dia: Beacon," Dia Art Foundation, accessed March 20,2012,http://www.diaart.org/siteslpage/11I003.

The Dia Art Foundation provided the initial financing for 7000 Oaks in Kassel. Joseph Beuys

On behalf of the board and staff of Dia Art Foundation, I am writing to adamantly opposePearl Montana Exploration & Production's application to drill exploratory boreholes in theNorth Arm of the Great Salt Lake in Utah.'The North Arm is home to Robert Smithson's artwork, Spiral Jetty (1 970), one of themost widely recognized and cherished American sculptures of the late twentieth century,and perhaps the most iconic example of Land Art in the world. Dia acquired the SpiralJetty as a gift from the artist's Estate in 1999 and today oversees its long-termpreservation, including the protection of the surrounding environment. Smithson'ssculpture is made of basalt rocks and earth taken from the site and formed into amassive 1500-foot-long coil that spirals into the Great Salt Lake. The expansive naturalsetting is integral to the artwork, providing an essential frame for experiencingSmithson's project.Smithson's pioneering sculpture-made with bulldozers and earth-occupies animportant place in art history, and has inspired both scholarly study and youngergenerations of artists. Visitors come from around the world to Rozel Point in Box ElderCounty to experience the Spiral Jetty which was conceived in relation to the specificgeology and topology of its unique site. The fragile balance of earth, salt lake, and localflora and fauna, symbolized in the form and structure of the artwork, must be maintainedto preserve the experience of the Spiral Jetty in this unique landscape.Dia strenuously objects to the proposed drilling which will occur approximately 4 milesaway from the Jetty. The drilling itself, and potential subsequent oil extraction, willdisrupt the viewshed and the area's isolated character, and will degrade the naturalenvironment of the lake by introducing barges with large-scale drilling equipment.Moreover, construction and operation will introduce toxins and chemicals to the delicatesaline water and wetlands that surround the lake. In the case of a toxic spill, theproposed operation would cause irreparable damage to the lake environment andthreaten the physical integrity of Smithson's extraordinary sculpture. Additionally, we areconcerned about increased traffic and heavy transport on the rural road that leads to theSpiral Jetty through Golden Spike National Monument, and the potential for noisepollution from drilling and operations.As stewards of the Spiral Jetty, Dia believes the State must seriously consider thedetrimental effects that drilling will have on Robert Smithson's internationally acclaimedartwork. We urge you to deny the filing submitted by Pearl Montana Exploration &Dia Art Foundation535 West 22nd Street New York New York 1001 1 .21 2 989 5566 Fax 21 2 989 4055 www.diaartorgProduction, and any future ,filings in the North Arm of Great Salt Lake that similarlyconstitute a threat to the artwork and the surrounding environment. Should you have anyquestions regarding Dia's position, please feel free to contact directly at 212.293.5505 orjweiss@diaart.org, and thank you for consideration of our request.Sincerely, IJeffrey WeissDirectorcc: The Honorable Jon Huntsman, Jr., Governor of UtahThe Honorable Robert F. Bennett, United States SenateThe Honorable Senator Orrin G. Hatch, United States SenateThe Honorable Rob Bishop, United States House of RepresentativesThe Honorable Peter C. Knudson, Utah State SenateThe Honorable Ronda Menlove, Utah House of Representatives

What are your organizations interest and activities on Great Salt Lake?Dia Art Foundation is the custodian of artist Robert Smithson’s iconic work of Land Art,Spiral Jetty, which was created in 1970 on Rozel Point on the Great Salt Lake in BoxElder County, Utah. Using black basalt rocks and earth from the site, the artist created acoil 1500 feet long and 15 feet wide that stretches out counterclockwise into thetranslucent red water. Spiral Jetty was acquired by Dia Art Foundation as a gift from theEstate of the artist in 1999.Smithson’s sculpture is unique throughout the world, and is an icon of late 20 th centurysculpture. It has been widely studied by artists and art historians alike, as well as drawingthe attention of a diverse general audience. Spiral Jetty is considered among the mostinfluential artworks of the past hundred years, and Dia is interested in preserving it inperpetuity for the benefit of visitors from Utah, from across the United States, and fromaround the globe.2. What permits or approvals do you need and from whom?Dia holds a “Special Use Lease No. 889 for the Spiral Jetty, an artistic design located inthe northeast portion of the Great Salt Lake.” This special use lease expires 02/28/11 atwhich point Dia plans to renew its application. If possible, Dia would like to extend thelease in perpetuity.3. What pressures on the lake affect your organization?Dia is concerned about commercial development on the Great Salt Lake in the areaimmediately surrounding Spiral Jetty because of the detrimental impact it could have onthe solitary environment that defines Rozel Point. For Smithson and for visitors alike, acompelling quality of Spiral Jetty is experiencing the artwork amidst the remoteness ofits site. The sculpture is directly integrated into the landscape, and is inseparable from theisolated natural environment which surrounds it.Commercial activity, such as oil extraction, could negatively impact this worldrenownedcultural site by introducing visual disruptions, noise, and toxic waste. Such activity coulddisrupt the delicate ecosystem of the lake and thus, the experience of the artwork, andcould jeopardize the structural integrity of the sculpture itself.4. Are there opportunities for improvement with regards to agency management orimpacts to the resource?Dia hopes to work with the Utah Department of Natural Resources and others in the Stateto create a buffer zone around Spiral Jetty that will protect this irreplacable artwork as avital cultural resource.KLEE

The section ‘Colour Theory – Klee’ has close associations with the section onmusical analogy, which includes sub-sections ‘Parallels With Shape’ and ‘MusicalAnd Visual Tone’ as well as an interpretation of the painting AncientSound/Harmony (Alter Klang, 1925, Öffentliche Kunstsammlung, Basel).11 In‘Parallels with Shape’, for example, having taken Klee’s Notebooks as a point ofreference, the way that certain abstract forms can suggest noises or sounds isdemonstrated. For example, a jagged shape suggests the sound of glass breaking, aspiral shape suggests an equivalent whirring sound. Animating Art History 27 pgDigital Art HistoryA Subject in TransitionComputers and the History of Art Volume OneEdited by

Anna Bentkowska-Kafel, Trish Cashen and Hazel GardinerFirst Published in the UK in 2005 byIntellect Books, PO Box 862, Bristol BS99 1DE, UKFirst Published in the USA in 2005 by

The capitalistic mode of production moves in these two forms of the antagonism immanent to it from itsvery origin. It is never able to get out of that "vicious circle" which Fourier had already discovered. WhatFourier could not, indeed, see in his time is that this circle is gradually narrowing; that the movementbecomes more and more a spiral, and must come to an end, like the movement of planets, by collisionwith the centre. http://www.marxists.org/archive/marx/works/1880/soc-utop/ch03.htm (5 of 13) [23/08/2000 17:41:19] Socialism: Utopian and Scientific (Chpt. 3)Written: Between January and March of 1880Source: Marx/Engels Selected Works, Volume 3, p. 95 -151Publisher: Progress Publishers, 1970First Published: March, April, and May issues of Revue Socialiste in 1880Translated: from the French by Paul Lafargue in 1892 (authorised by Engels) ENGELS 1880

Blinky Palermo: Retrospective 1964–1977 is organized by Dia Art Foundation and the Center for Curatorial Studies, Bard College and is curated by Lynne Cooke.The national tour of Blinky Palermo: Retrospective 1964–1977 is made possible by GUCCI. Additional tour support is provided by The Andy Warhol Foundation for theVisual Arts, the Brown Foundation, the National Endowment for the Arts, and Glenstone. Funding for the publication is provided by Sotheby’s, the Marx Family Advised Fundat Aspen Community Foundation, and The Andrew J. and Christine C. Hall Foundation.

Blinky Palermo: Retrospective 1964–1977 is organized by Dia Art Foundation and the Center for Curatorial Studies, Bard College and is curated by Lynne Cooke.TBlinky Palermo: Retrospective 1964–1977 is organized by Dia Art Foundation and the Center for Curatorial Studies, Bard College and is curated by Lynne Cooke.The national tour of Blinky Palermo: Retrospective 1964–1977 is made possible by GUCCI. Additional tour support is provided by The Andy Warhol Foundation for theVisual Arts, the Brown Foundation, the National Endowment for the Arts, and Glenstone. Funding for the publication is provided by Sotheby’s, the Marx Family Advised Fundat Aspen Community Foundation, and The Andrew J. and Christine C. Hall Foundation.he national tour of Blinky Palermo: Retrospective 1964–1977 is made possible by GUCCI. Additional tour support is provided by The Andy Warhol Foundation for theVisual Arts, the Brown Foundation, the National Endowment for the Arts, and Glenstone. Funding for the publication is provided by Sotheby’s, the Marx Family Advised Fundat Aspen Community Foundation, and The Andrew J. and Christine C. Hall Foundation.

Dia Art Foundation535 West 22nd Street New York New York 10011212 989 5566 Fax 212 989 4055 www.diaart.org………………………………………………………………..Immanuel Kant naively thought that to contemplate such chainsof responsibility is to initiate an infinite regress, but the folktheorem shows that the chains of responsibility can be bent backon each other. With only a finite number of players, these chains ofresponsibility are necessarily closed in a manner that Kant failedto consider. Alice obeys the king because she fears Bob will

otherwise punish her. Bob would obey the order to punish Alicebecause he fears that Carol will otherwise punish him. Carolwould obey the order to punish Bob because she fears that Alicewill otherwise punish her.At first sight, such a spiral of self-confirming beliefs seems toofragile to support anything solid. It is true that the beliefs goround in a circle, but the folk theorem shows that their fragility isan illusion, since the behaviour generated by the beliefs holdstogether as a subgame-perfect equilibrium. Game Theory pg 84Game theory Ken Binmore OUP (2007)

Kobert Smithson. Spiral Jetty. 1969-70.

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In the work of the best-known among mediahistorians, Marshall McLuhan (1911–1980), the narrative ofevolution has an interestingly spiral dimension, returningin heightened form to its oral origin in the figure of theelectronic “global village” (pp. 166–167). A noted Joycescholar, McLuhan may have derived the spiral form of historyfrom Joyce’s source, Giambattista Vico (1688–1744).Be that as it may, he shares with other teleological media historiansa mystical belief in eternal return or in millenarianthought that responds to a heartfelt longing for historicalsymmetry.McLuhan’s spiral might be seen as syncretic, even atavistic History of Media Entry

new dictionary of the history of ideasmaryanne cline horowitz, editor in chiefvolume 1Abolitionism to Common SenseNew Dictionary of the History of IdeasMaryanne Cline Horowitz, Editor in Chief©2005 Thomson Gale, a part of the Thomson

Similarly, the possible combination of landscape and not-landscapebegan to be explored in the late 1960s. The term marked sites is used toidentify work like Smithson's Spiral Jetty (1970) and Heizer's DoubleNegative (1969), as it also describes some of the work in the '70s by Serra,Morris, Carl Andre, Dennis Oppenheim, Nancy Holt, George Trakis, andmany others. But in addition to actual physical manipulations of sites, thisterm also refers to other forms of marking. These might operate through theapplication of impermanent marks Heizer's Depressions, Oppenheim'sTime Lines, or De Maria's Mile Long Drawing, for example or throughthe use of photography. Smithson's Mirror Displacements in the Yucatanwere probably the first widely known instances of this, but since then thework of Richard Long and Hamish Fulton has focused on the photographicexperience of marking. Christo's Running Fence might be said to be animpermanent, photographic, and political instance of marking a site.The first artists to explore the possibilities of architecture plus notarchitecturewere Robert Irwin, Sol LeWitt, Bruce Nauman, Richard Serra,and Christo. In every case of these axiomatic structures, there is some kindof intervention into the real space of architecture, sometimes through partialSculpture in the Expanded Field 41inCopyright © 1983 by Bay Press

All rights reservedPrinted in the United States of AmericaFirst edition published in 1983Fifth Printing 1987Bay Press914 Alaskan WaySeattle, WA 98104Library of Congress Cataloging in Publication DataMain entry under title:The Anti-aesthetic.I. Modernism (Aesthetics) - Addresses, essays, lectures.2. Civilization, Modern - 1950- Addresses, essays , lectures. Hal Foster

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Prosthetic Gods Torn Screens 299

This dialectic is concentrated in Spiral Jetty (1970), his celebrated earthworkin the Great Salt Lake, and even more so in the film of its construction; thisfilm opens onto a Medusan real more directly than any postwar work I know (fig.7.16). From its initial sequence of sunbursts to its meditation on dinosaurs in anatural history museum and on legends of a whirlpool that once connected theSalt Lake to the Pacific, from the actual siting, staking, and making of the jetty atRozel Point to its final traversing by Smithson, the film spirals vertiginously, bothvisually and thematically (there is also Medusan imagery, more or less incidental,of eyes, snakes, and “stony matrices” along the way). This optical vertigo is extremein the final frames, filmed from a helicopter. These shots begin slow andsteady on the site, then seem to speed up as the helicopter swoops in. As it doesso, Smithson drones, “North—Mud, salt crystals, rocks, water. North by East—Mud, salt crystals, rocks, water . . . ,” in a voiceover repeated for all points of thecompass. As the jetty spirals more tightly, the camera turns more rapidly, and welose our orientation—a vertigo deepened by the banking of the helicopter.Gradually the camera pulls back, and we see the work as a distinct image oncemore, but only long enough so that this “gestalt form”might then be withdrawn,as the helicopter flies in low again to circle the site tightly. At this point the camerazooms in on the end of the jetty (which is also, in a sense, its center, its eye),and the film cuts to images of salt crystals formed on its rocks (spirals exist at allscales in this film).Next we see Smithson from the helicopter as he walks, runs, and stumblestoward the tip of the jetty. Sunlight glares from the water more brilliantly thanany sardine can, as Smithson speaks of a blinding gaze into the sun (he also recitesthe symptoms of sunstroke, including “delirium”). Dazzling light burnsthrough the screen, and blind spots seem to be everywhere—on the surface ofthe lake, in the emulsion of the film, on the retina of the viewer. The critical literatureon Smithson often discusses his decentering of the art object and histransgressing of the institutional frame. Not so remarked is that, here at least, healso evokes a burning-through of the gaze and a tearing of the image screenthrough an opening to light that is “pulsatile, dazzling and spread out.” (The sheer

© 2004 Massachusetts Institute of TechnologyAll rights reserved. No part of this book may be reproduced in any form by any electronic ormechanical means (including photocopying, recording, or information storage and retrieval)without permission in writing from the publisher.MIT Press books may be purchased at special quantity discounts for business or sales promotionaluse. For information, please e-mail special_sales@mitpress.mit.edu or write to Special SalesDepartment, The MIT Press, 5 Cambridge Center, Cambridge, MA 02142.

Publication of this book has been aided by a grant from the Publications Committee, Departmentof Art and Archaeology, Princeton University.This book was set in Bembo by Graphic Composition, Inc., and was printed and bound in theUnited States of America.Library of Congress Cataloging-in-Publication DataFoster, Hal.Prosthetic gods / Hal Foster.p. cm.“An October book.”Includes index.ISBN 0-262-06242-9 (alk. paper)1. Modernism (Art) 2. Modernism (Aesthetics) 3. Psychoanalysis and art. 4. Creation

7.16. Robert Smithson, film stills from Spiral Jetty, 1970. Gelatin silver prints. Panel C: 251⁄4 431⁄2 in. Collectionof Museet for Samtidskunst, Oslo. c Estate of Robert Smithson/Licensed by VAGA, New York, New York.Courtesy James Cohan Gallery, New York.

In his 1972 text on Spiral Jetty, Smithson describes its landscape in Medusanterms, but here the gaze of the world dissolves as much as it petrifies. Amidhills like “melting solids” and slopes like “viscous masses of perception,” the lake“resembles an impassive faint violet sheet held captive in a stony matrix, uponwhich the sun poured down its crushing light.”73 The religious epigraph of theessay, which points to the red algae in the lake as well as the red filter that tintsmuch of the film, also evokes a torn screen:“Red is the most joyful and dreadfulthing in the physical universe; it is the fiercest note, it is the highest light, it is theplace where the walls of this world of ours wear the thinnest and something beyondburns through.”74 Later in the text Smithson expands on this red:Chemically speaking, our blood is analogous in composition to theprimordial seas. Following the spiral steps we return to our origins,back to some pulpy protoplasm, a floating eye adrift in an antediluvianocean. On the slopes of Rozel Point I closed my eyes, and thesun burned crimson through the lids. I opened them and the GreatSalt Lake was bleeding scarlet streaks. My sight was saturated by thecolor of red algae circulating in the heart of the lake, pumping intoruby currents; no, they were veins and arteries sucking up the obscuresediments. My eyes became combustion chambers churningorbs of blood blazing by the light of the sun. All was enveloped ina flaming chromosphere; I thought of Jackson Pollock’s Eyes in theHeat. Swirling within the incandescence of solar energy were spraysof blood.75Torn Screens301 prostheic Gods

FILM above…………………………………………………..

QUOTES

Robert Smithson in "The Spiral Jetty" moves into the area of experimental cinema. Is the result anecdotal, fantasy, dream? Is it phenomenonological, existential, or pure nar-rative? The scales used are called centers at one time, edges at another. Is it a spiraling daydream or a subconscious happening? A dialectic of "site" and "nonsite" suggests rather than explains. Enhancement of sense may not be enrichment of value. The Arts and the Environment by Georgy KepesReview by: William Sener RuskArt Journal, Vol. 35, No. 3 (Spring, 1976), p. 294Published by: College Art

AssociationStable URL: http://www.jstor.org/stable/775958 .Accessed: 24/09/2012 03:14Your

In response to large-scale earthworks like Heizer 's Double Negative or Smithson's Spiral Jetty, more ecological approaches to making land art would gain steam in the later 1970s. Boettger acknowledges the deliberate failure of earthworks to connect with the early years of the environmental movement fol lowing the significant publication of Rachel Carson's Silent Spring in 1962: "These artists unintentionally enacted society's ambiva lence about the environment?both the attraction to the earth as a primeval source of replenishment and a belief in human kind's right of dominion over it?in this early stage of public awareness of environ mental holism" (208). Boettger's hindsight is seemingly informed by the ecological art

In response to large-scale earthworkslike Heizer 's Double Negative or Smithson's SpiralJetty, more ecological approaches to makingland art would gain steam in the later 1970s.Boettger acknowledges the deliberate failureof earthworks to connect with the earlyyears of the environmental movement following the significant publication of RachelCarson's Silent Spring in 1962: "These artistsunintentionally enacted society's ambivalence about the environment?both theattraction to the earth as a primeval sourceof replenishment and a belief in humankind's right of dominion over it?in thisearly stage of public awareness of environmental holism" (208). Boettger's hindsightis seemingly informed by the ecological art

LandedEarthworks: Art and the Landscape of the Sixties by Suzaan Boettger; Artists, Land, Natureby Mel Gooding; William FurlongReview by: Maura CoughlinArt Journal, Vol. 64, No. 2 (Summer, 2005), pp. 105-109Published by: College Art AssociationStable URL: http://www.jstor.org/stable/20068389 .Accessed: 24/09/2012 02:33Your

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United Press InternationalApril 20, 2008EntertainmentSpiral Jetty threatened by oil projectSALT LAKE CITY, April 20 (UPI) -- Utah's Spiral Jetty land sculpture is at risk of beingaltered by a growing search for oil in the region, a foundation official says.Dia Art Foundation Deputy Director Laura Raicovich, whose group owns the largespiraling sculpture, said artist Robert Smithson's creation could be irrevocably altered ifplans are approved to search for oil beneath the Great Salt Lake, the Los AngelesTimes reported Sunday."The relationship between the work of art and the surrounding landscape is critical,"Raicovich said of the famed artwork."This is an internationally recognized work of art, which not just the people of Utah buteveryone should want to maintain."Keith C. Hill, president of Pearl Exploration and Production, the company behind the

potential oil exploration threatening the Spiral Jetty, said he has been besieged bycomments about the plan."Not one," he said, "has been supportive."The Times said the plan is being reviewed by state officials, who said they will notapprove the effort until they learn how Pearl would transport any oil it finds at the site.

…………………………………………………………………………Practitioners and land artists like Smithson saw their work aspart of a broader critique of art’s commodification by the commercialgallery system (Hopkins 2000: 172). There was also an ecologicalangle to these interventions. It may seem strange in our environmentallymore conscious times that a carbon-hungry engineeringproject like Smithson’s Spiral Jetty, 1970 – a 1,500ft sandstonesculpture in Utah’s Great Lakes – could sustain such readings. ButSmithson’s work reflected a fascination with the idea of ‘entropy’ –the gradual slowing down and eventual stasis of all naturalphenomena. At a time when corporations and mainstream politicalinterests were scarcely conscious of ecological balance, Smithsonwas exploring an ultimately finite natural environment as the productof geology and time (http://www. robertsmithson.com). Art History The basicsGrant Pooke and Di ana Newa l l Routledge New York 2008

Smithson, Robert (1938–73) Spiral Jetty(1970), 181

Earthworks completed in the late i96os and early I970s began to develop and respond to the particular qualities of site, incorporating that information into the sculpture. They moved outside the usual context of the art world, often into the vast spaces of the West. Though the images of these works (such as Robert Smithson's ((Spiral Jetty>>) were often appealing to a larger audience, the pieces were not within the public domain. They were privately sponsored works on private land, not readily accessible. The artists still maintained the sensibility, if not the scale, of the studio;Mary Miss On a Redefinition of Public SculptureAuthor(s): Mary MissReviewed work(s):Source: Perspecta, Vol. 21 (1984), pp. 52-69Published by: The MIT Press on behalf of Perspecta.Stable URL: http://www.jstor.org/stable/1567080 .Accessed: 24/09/2012 02:52Your

Addressing Robert Smithson’s Spiral Jetty and the Partially Buried Woodshed, Craig Owenshas made an important connection between melancholia and the redemptive logic of sitespecificity in “The Allegorical Impulse: Toward a Theory of Postmodernism,” October 12(Spring 1980): 67–86.

Sculpture in the Expanded FieldRosalind KraussOctober, Vol. 8. (Spring, 1979), pp. 30-44.Stable URL:http://links.jstor.org/sici?sici=O162-2870%218 97921%298%3C30%3ASITEF%3E2.O.C0%3B2-Ydetails in readerSchumpeter AntonioMarx details in readerEngels details in readerDia details in readerRobert Smithson biblio details in reader

My own essay… Tax info.………………………………………………………………..

The Ruling Class and the Ruling Pleas ^.

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The ideas of the ruling class are In every epoch the ruling ideas: i.e.^r the class which is the ruling merit force of society is at the same time its

~ material pro~uction at its disposal, consequently also controls the means of mental production so that the ideas of those who lack the means of menial pro~uction are on the whole subject to it. The ruling ideas are nothing more than the ideal expression of dominant mate id relations, the ~om~ant material relators grasped as ideas; hence of the relations which malce the one class the ruling one, therefore, the ideas of its dominance. The in~iviclua~s composing the ruling class possess among other things consciousness, and therefore think. Insofar, therefore, as they rule as a class and determine the extent and compass of an historical epoch, it is selfevi~en~ that they do this in its whole range, hence among other things rule also as thinkers, as producers of ideas, and regulate the production and distribution of the ideas of their age: thus their ideas are the ruling ideas of the epoch. For instance, in an age and in a country where royal power, aristocracy and bourgeoisie are contending for domination and where, therefore, domination is sharecrop the doctrine of the separation of powers proves to be the dominant idea and is expressed as art '^teternal laws ~

ruling inteZZect^lcal force. The class which has the means of:

AH If ~ tin Hi ~~ of ^1 Phil l r one of the chief forces of history up till

^111~ ~~ V ~~ ~ ~~ ~~ • • ~

now, marufests itself also in the ruling class as the division of mental and material lLabour, so that inside this class one part appears as the thinkers of the class fits active, cox~:cep~ive ideologists, who make the formation of the illusions of the class about itself their chief source of livelihoods, while *tern' attitude to these ideas and illusions is more passive and

Unreceptive, because they are in reality the active members of this class and have less time to make up illusions and ideas about themselves. Within this class this cleavage can even develop into a certain opposition and The Ruling Class and the Ruling Pleas ^.

^. . (with Engels) (1845- 6)

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The ideas of the ruling class are In every epoch the ruling ideas: i.e.^r the class which is the ruling merit force of society is at the same time its

~ material pro~uction at its disposal, consequently also controls the means of mental production so that the ideas of those who lack the means of menial pro~uction are on the whole subject to it. The ruling ideas are nothing more than the ideal expression of dominant mate id relations, the ~om~ant material relators grasped

as ideas; hence of the relations which malce the one class the ruling one, therefore, the ideas of its dominance. The in~iviclua~s composing the ruling class possess among other things consciousness, and therefore think. Insofar, therefore, as they rule as a class and determine the extent and compass of an historical epoch, it is selfevi~en~ that they do this in its whole range, hence among other things rule also as thinkers, as producers of ideas, and regulate the production and distribution of the ideas of their age: thus their ideas are the ruling ideas of the epoch. For instance, in an age and in a country where royal power, aristocracy and bourgeoisie are contending for domination and where, therefore, domination is sharecrop the doctrine of the separation of powers proves to be the dominant idea and is expressed as art '^teternal laws ~

ruling inteZZect^lcal force. The class which has the means of:

AH If ~ tin Hi ~~ of ^1 Phil l r one of the chief forces of history up till

^111~ ~~ V ~~ ~ ~~ ~~ • • ~

now, marufests itself also in the ruling class as the division of mental and material lLabour, so that inside this class one part appears as the thinkers of the class fits active, cox~:cep~ive ideologists, who make the formation of the illusions of the class about itself their chief source of livelihoods, while *tern' attitude to these ideas and illusions is more passive and

Unreceptive, because they are in reality the active members of this class and have less time to make up illusions and ideas about themselves. Within this class this cleavage can even develop into a certain opposition and The Ruling Class and the Ruling Ideas 61

hostility between the two parts, but whenever a practical collision occurs in which the class itself is endangered they automatically vanish, in which case there also vanishes the appearance of the ruling ideas being not the ideas of the ruling class and having a power distinct from the power of this class. The existence of revolutionary ideas in a particular period presupposes the existence of a revolutionary class....

If now in considering the course of history we detach the ideas of the ruling class from the ruling class *self and attribute to them an independent existence, if we confine ourselves to saying that these or those ideas were dominant at a given time, without bothering ourselves about the conditions of production and the producers of these ideas, if we thus ignore the individuals and world conditions which are the source of the ideas, then we can say, for instance, that during the time the aristocracy was dominant, the concepts honour, loyalty, etc., were dominant, during the dominance of the bourgeoisie the concepts freedom, equality, etc. The ruling class itself on the whole imagines this to be so. This conception of history, which is common to all historians, particularly since the eighteenth century, will necessarily come up against the phenomenon that ever more abstract ideas hold sway, i.e., ideas which increasingly take on the form of universality. For each new class which puts itself in the place of one ruling before it is compelled, merely in order to carry through its aim, to present its interest as the common interest of all the members of society, that is, expressed in ideal form: it has to give its ideas the form of universality, and present them as the only rational, universally valid ones. The class making a revolution comes forward from the very start, if only because it is opposed to a class, not as a class but as the representative of the whole of society, as the whole mass of society confronting the one ruling class. It can do this because initially its interest really is as yet mostly connected with the common interest of all other non-ruling classes, because under the pressure of hitherto existing conditions its interest has not yet been able to develop as the particular interest of a particular class. Its victory, therefore, benefits also many individuals of other classes which are not winning a dominant position, but only insofar as it now enables these individuals to raise themselves into the ruling class....

Once the ruling ideas have been separated from the ruling individuals and, above all, from the relations which result from a given stage of the mode of production, and in this way the conclusion has been reached that history is always under the sway of ideas, it is very easy to abstract from these various ideas "the Idea", the thought, etc., as the dominant force in histor,v, and thus to consider all these separate ideas and concepts as "forms of self-determination" of the Concept developing in history. It follows then naturally, too, that all the relations of men can be derived from the concept of man, man as conceived, the essence of man, Man. This has been done by speculative philosophy. Hegel himself confesses . . . that he 62 Ma rx R n ~ E r^lge I s

"has considered the progress of the concept only' and has represented in history the "true theodicy" Now one can go back again to the producers of "the concepts to the theorists, ideologists and philosophers, and one comes then to the conclusion that the philosophers the thinkers as such^r have al all times been dominant in history: a concision as we see, already expressed by Beget. ...

This historical method which reigned in Germany, and especially the reason why, must be explained from its connection with the illusion of ideologists in general, e.g., the illusions of the jurists, politicians ~inc~uding the practical statesmen, from the dogmatic c3ream~ngs and distortions of these fellows; this is explained perfectly easily from their practical position in life, their job, and the division of About.

Whilst in ordinary life every shopkeeper is very well able to distinguish between what somebody professes to be and what he really is, our historiography has not yet won this trivial insight. It takes every epoch at -its word and believes that everything it says and imagines about itself is _, . ~ i . ~~ ~ ~ ^- ^l

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Alienated forms of consciousness can be said to be forms of ideology. In the early works Marx is particularly concerned with the role of religion which is said to justify and reinforce alienation by shifting people's consciousness away from the problems of everyday life towards higher things while also making a virtue out of misery and suffering. Religion offers comfort, but not a solution to social problems. It does not cure but instead deadens the pain. As the well known saying goes:

Religious suffering IS at one and the same time the expression of real suffering and a protest against real suffering. Religion is the sigh of the oppressed creature, the heart of a heartless world and the soul of soulless conditions, It is the opium of the people. Marx 1975e: 244)

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tact rho source ~~ roll Lou l~o~lo~y Jury ''I h^l^l^l stare Add Inlay girl duds rolls gion, which is an inverted consciousness of the world, because they are in an inverted world' (Marx 1975e: 244). Ideology, then, has an organic link with real social relations, but it produces a mystifying picture of them. This theme is developed by Marx and Engels in The German Ideology where it is argued that the production of ideas and conceptions in our consciousness is interwoven with our material activity. Such things as morality and religion, although they have the semblance of independence, are really the product of (imperfect) material intercourse. Ideology is an illusory representation of our species-being. It is obfuscatory in that it blurs the real conflicts and contradic tions of social life. Marx and Engels write that the phantoms formed in the human brain are sublimates of our material life processes (Marx and Engels 1965: 37-38).

In The German Ideology Marx and Engels continue to describe ideology as an 'inversion' of material life: ~

If in all ideology men and their circumstances appear upside down as in a camera obscura, this phenomenon arises just as much from their historical life-pracesses~ as the inversion of objects on the retina does from their physical life-process. (Marx and Engels 1965: 37)

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There is a danger of this portrayal of ideology as an inversion of the world becoming slightly mechanistic in that the dominant ideology is but an inverted reflection of real economic relations. As we will see, in the 1859 Preface, ideology becomes part of the superstructure of society, something that is determined by the economic base. If ideology is presented here as a reflection of the economic base of society, The German Ideology also presents ideology as an instrument of the ruling class:

The ideas of the ruling class are in every epoch the ruling ideas i.e. the class which is the ruling material force of society, is at the same time its ruling intellectual force. The class which has the means of material production at its disposal, has control at the same time over the means of mental production . . . the ruling ideas are nothing more than the ideal expression of the dominant material relations material relationships. (Marx and Engels 1965 61)

We must decide whether to read such a passage as an indication that the ruling ideology narrowly reflects material conditions, or whether it simply means that those classes who have control over economic and material resources are better placed to dominate social, cultural and political life. The latter need not mean that the leading ideas in these domains neatly reflect the dominant economic interests. The fact that certain groups have access to economic resources dogs mean that they can influence the political and cultural sphere (as a study _C ~~..~,^3^r.c^l~ nrn^l~riet~rg^h^j^u clearly shows). But although the economic

structure of society does tend to produce the ruling ideas, how these ideas are expressed or articulated depends upon many other social, cultural and political factors. Ideology is seen as a form of consciousness, describing a set of ideas or beliefs, or different theories, outlooks and ways of seeing the world. However, for Marxists it has a negative connotation best expressed in Engels' remark that ideology is false consciousness. At the very least ideology is said to be partial or misleading. Ideology may represent the way that things appear to us in our day-to-day interactions, but this appearance may not be the whole picture. Invoking the dialectical distinction between essence and appearance, we can say that while the capitalist system may appear to be based on free and fair exchange, the real essence of capitalist relations - as we will see, the production of surplus value - remains hidden. In later works like Capital Marx ~ ret strongly ties ideology to a process he calls fetishism whereby things becomes ~3~^11;~\~ ^1 ~( identified by their appearance rather than true nature. l The concept of estrangement is now given a more a precise definition. It is no longer simply the estrangement of human essence by private property but the way that workers are dominated by social forms that are real and yet hide their true natures. While many workers believe they are doing a fair day's work for a fair day's wage, the wage form hides the real nature of the production process and the extraction of surplus labour from the producer. Marx also talks of the fetishisation of the commodity form which presents the social characteristics of commodities as natural and intrinsic to them:

ensuring that human action helps to reproduce societ^l ~ rather than question its real basis.

This leads to a debate within Marxism as to whether these illusory forms are in themselves sufficient to ensure the stability and repri ' ' --' ist system. In their political writings Marx and Engels 3 silo At ;~P~^C that are generated in the course of class

duct^lon of tne cap^l^l~^ly greater stress ore the struggle. Buts as Jorge L~J1~ All a C7 ~ I ~

Larrain points out (Larra~-n 1983), the^l-r account o Geology does tend to emphasise its negative rather than positive effects and it has been left to future Marxists like Lenin and Gramsci to give a more positive account of the recesses he which different classes actively use ideology to advance their

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interests.

The mysterious character of the commodity-form consists therefore simply in the fact that the commodity reflects the social characteristics of men's own labour as objective characteristics of the products of labour themselves, as the socio-natural properties of these things . . . It is nothing but the definite social relation between men themselves which assumes here, for them the fantastic form cuff a relation between things. (Marx 1976 164-65)

Marx's theory of commodity fetishism shows how ideology is produced by the normal workings of the capitalist system. This ideology helps society to function and it is in fulfilling this cohering function that ideology is often conceived of, within the Marxist tradition, as a social cement that holds together the different parts of the social system. Ideology, therefore, is concerned with the unity and reproduction of the social system, generating the necessary beliefs to ensure that humans act in the right ways. Later writers, particularly within the structuralist tradition will look at how this extends to politics and culture, but in Marx the main focus is on economic forms. Social forms like money, capital, the commodity and the wage are real but at the same time mystifying forms that conceal the essence of capitalist relations through their surface

appearances and create the illusion of free and equivalent social relations. The generation of such ideology helps ensure the reproduction of the social system by

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