In 1969 Robert Smithson was invited to exhibit in an ICA show, ‘When Attitudes Become Form’, and so he and Nancy Holt took the opportunity to come over and make their own kind of picturesque tour of England and Wales. In an
interview in Tate etc. magazine, Holt talks about their route, taking in Chesil Beach, Old Sarum, Pentre Ifan, Stone Henge and the
Cerne Abbas Giant. But 'besides the books on prehistoric monoliths in Europe and England that we
had brought with us, Bob also had a book on Welsh mines. We visited
many gravel pits and quarries, often quite out of the way. One place
labelled Ash Hill on one of the slides is likely where Bob made a mirror
piece called
Untitled (Zig-Zag Mirror Displacement), probably
on the outskirts of Tredegar. We found these abandoned,
edge-of-the-world places intriguing; mines that had at one time railroad
tracks and tunnels to transport rock. These structures are now
overgrown and broken down. Bob and I both grew up in northern New
Jersey, where you could find hidden quarries, forbidden places,
scattered throughout the landscape. The coal mines in Wales were like
that too. These socalled depressing, forgotten places that fall within
the gaps of one’s consciousness are often described negatively. But if
you look at them with a neutral eye, you start to see them differently;
you begin to see a beauty in their entropic condition.'
Nancy Holt currently has a really nice exhibition of photo works at
Haunch of Venison (five minutes' walk away from the Burtynsky show covered in my last post). You can see in it two works made on her trip with Smithson:
Wistman's Wood and
Trail Markers. I've mentioned Wistman's Wood
here before - Smithson and Holt were stunned by it and Holt made her first
Buried Poem piece
there. She says in the interview, 'a site evokes a person, and I bury a poem for that person and
later the person a booklet including maps, detailed directions and a
list of equipment (such as a compass and shovel) in order to find it. To
me, Wistman’s Wood conjured up Bob’s persona in a striking way…'
Trail Markers is a set of photographs of Dartmoor rocks, each distinguished by an orange paint spot, used to identify a route across the moor. As I looked at these I felt a strange sense of recognition, perhaps recalling other trails like this from childhood holidays in the seventies: was this how most such trails were marked out before the spread of wooden sign posts? Holt says 'I hadn’t seen markers like these before. I didn’t know if they were
unique to this place or not, but in any case they lent themselves to my
project.'
The exhibition includes other works derived from the trips Holt and Smithson made together:
Ruin View (1969), for example, showing the Temple of the Sun at Palenque (Smithson used photographs of the dilapidated
Hotel Palenque to illustrate his notion of a 'ruin in reverse'). Her best known work,
Sun Tunnels, is represented by photographs of light and shadow, taken at half hour intervals one summer's day in 1976. These are hung near a very different work about sunlight -
California Sun Signs (1972) - eighteen colour shots of garish signs in which the sun is word or symbol signifying some kind of retail opportunity. The same year, at the other end of the country, she made
View Through a Sand Dune, inserting a piece of pipe into the sand of Narragansett Beach, Rhode Island, and photographing the sea through it. The circular view created by this pipe-frame has a curious distancing effect, like a seascape seen through an old
stereoscope. After seeing this I promised myself I would pack a bit of piping with the bucket and spades next time we head for the seaside...
Not everything in the exhibition relates to landscape (there is, for example, a beautiful series of
Light and Shadow Photo-Drawings), but I'd like to end this post by mentioning
Pine Barrens: Trees (1975), a seven by four grid of video stills showing solitary stunted pine trees in a wilderness area of New Jersey. In the original film local people can be heard describing the area and its local myths, but here the images are stark and silent, their transfer from the original 16mm film giving them a slightly blurred quality that reminded me of Chinese ink paintings. In her
Tate etc. interview Nancy Holt traces the origin of this piece to that 1969 trip with Robert Smithson. 'Looking back, I feel that the Pine Barrens film may have been seeded in
our visit to Wistman’s Wood. Walking on that Dartmoor trail was a
pivotal experience. Not long before our visit there, we had seen
Stonehenge, Avebury and Silbury Hill. It all works on the psyche.'
3 comments:
I have the catalogue of a 1984 exhibition at Kettle's Yard and Fruitmarket Gallery, "1965 to 1972 -- when attitudes became form", and had never before realised the [odd] title related to an earlier show. Duh!
Neither Smithson nor Holt seem to have featured in the later 1984 show.
Thanks. There is an interesting retrospective account of 'When Attitudes Become Form' here.
Thanks, Plinius, an interesting read.
I was 15 in 1969; they were genuinely exciting times, and sometimes it seems we have got nowhere in the succeeding 40 years, just found quicker ways to get there...
Mike
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