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Meindert Hobbema: The Wagon at the top of the Hill, nd.; Robert Smithson: Asphalt Rundown, Rome, 1969

Lytle Shaw: Golden Age Smithson

Lecture, 13 November 2019, 19:00

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Wolfgang Tschapeller: On Architecture

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Meindert Hobbema: The Wagon at the top of the Hill, nd.; Robert Smithson: Asphalt Rundown, Rome, 1969Meindert Hobbema: The Wagon at the top of the Hill, nd.; Robert Smithson: Asphalt Rundown, Rome, 1969

Lytle Shaw: Golden Age Smithson

Lecture13 November 2019, 19:00Aula, Städelschule, Dürerstraße 10, 60596 Frankfurt am Main

In the essay A Sedimentation of the Mind (1968) Robert Smithson proposes that artists move away from then familiar ideas of cool or hot art toward those of dry, or better, wet art. “The wet mind enjoys ‘pools and stains’ of paint. ‘Paint’ itself appears to be a kind of liquefaction. Such wet eyes love to look on melting, dissolving, soaking surfaces.” Smithson’s immediate reference is color field painting, and its dominant reception within models of instantaneous perception that would minimize precisely these materials, durational aspects of this painting’s physical basis in pooled, poured pigment. While many of Smithson’s sculptures can be imagined as cultivations of the slow pooling and soaking that color field paintings evokes but represses, Lytle Shaws lecture will reframe the artist’s one Dutch earthwork – Broken Circle/Spiral Hill (1971) – as a surprisingly systematic engagement with arguably the first wet, liquefaction art: Dutch seventeenth-century landscape painting. Linking Smithson’s and the Dutch painters’ aesthetics of land reclamation, the talk will excavate a soggy path through a little known Golden Age Smithson, locating key precedents for his interest in wet art in the works of Jacob van Ruisdael, Meindert Hobbema, and especially Jan van Goyen, who pooled wet pigment on his panels and gradually pulled recognizable forms out of them, re‐enacting the work of Dutch hydraulic engineers. 

Lytle Shaw is a New York-based writer. A contributing editor for Cabinet magazine and a professor of English at New York University, his books of poetry and prose include Cable Factory 20 (1999), The Lobe (2002), The Moiré Effect (2012), The Mollino Set (forthcoming, 2020), as well as many collaborative books with artists such as Jimbo Blachly, Emilie Clark, and Brad Brown. Lytle Shaw’s critical works on poetry and art history include Frank O’Hara: The Poetics of Coterie (2006), Fieldworks: From Place to Site in Postwar Poetics (2013), Narrowcast: Poetry and Audio Research (2018), and New Grounds for Dutch Landscape (forthcoming, 2020). Shaw has also published essays on artists including Zoe Leonard, Robert Smithson, Gerard Byrne, The Royal Art Lodge, and Paul McCarthy for museums including Reina Sofia, the DIA Center, Whitechapel Gallery, De Hallen, and the Drawing Center.

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