Abstract
The artist Robert Smithson attempted to develop a form of aesthetic resistance to the technologies of power that loom over the contemporary world. Using the interpretive lens of an emblematic work of art, this article considers the architecture of that resistance. To achieve this, we will walk with Smithson through the ‘Monuments of Passaic’ as the artist brings together mundane descriptions of the everyday with eclectic quotation, photography, and fantastic forms of speculation. For him, this walk through the marginal spaces of his hometown (his ‘Crystal Land’) represented the unfolding images, rhythms, and narratives of a single, sunny autumn day in New Jersey (Saturday, 30 September 1967), but for us, it might define the topographical structure—the spatial architecture—of his entire artistic œuvre.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
