The Spiral Jetty, considered to be the central work of American sculptor Robert Smithson, is an earthwork sculpture constructed in 1970.
Built entirely of mud, salt crystals, basalt rocks, earth, and water on the northeastern shore of the Great Salt Lake near Rozel Point in Utah, it forms a 1,500-foot-long (460 m), 15-foot-wide (4.6 m) counterclockwise coil jutting from the shore of the lake which is only visible when the level of the Great Salt Lake falls below an elevation of 4,197.8 feet (1,279.5 m).[1][2]
At the time of its construction, the water level of the lake was unusually low because of a drought. Within a few years, the water level returned to normal and submerged the jetty for the next three decades. Due to a drought, the jetty re-emerged in 2004 and was completely exposed for almost a year. The lake level rose again during the spring of 2005 due to a near record-setting snowpack in the mountains and partially submerged the Jetty again. Lake levels receded and, in the spring of 2010, the Jetty was again walkable and visible. As of late June 2011, runoff from record snowpack has all but completely submerged the Jetty.
Originally black basalt rock against ruddy water, it is now largely white against pink due to salt encrustation and lower water levels.
Contents |
Smithson reportedly chose the Rozel Point site based on the blood-red color of the waters and its connection with the primordial sea. The red hue of the water is due to the presence of salt-tolerant bacteria and algae that thrive in the extreme 27 percent salinity of the lake's north arm, which was isolated from fresh water sources by the building of a causeway by the Southern Pacific Railroad in 1959.
Smithson was reportedly attracted to the Rozel Point site because of the stark anti-pastoral beauty and industrial remnants from nearby Golden Spike National Historic Site, as well as an old pier and a few unused oil rigs.[3] While observing the construction of the piece from a helicopter, Smithson reportedly remarked "et in Utah ego" as a counterpoint to the famous pastoral Baroque painting et in Arcadia ego by Nicolas Poussin.[4]
The piece was financed in part by a $9,000 USD grant from the Virginia Dwan Gallery of New York. A 20-year lease for the site was granted for $100 annually.
To move the rock into the lake, Smithson hired Bob Phillips of Parson's Construction of nearby Ogden, Utah, who used two dump trucks, a large tractor, and a front end loader to haul the 6,550 tons of rock and earth into the lake. It is reported that Smithson had a difficult time convincing a contractor to accept the unusual proposal.
He began work on the jetty in April 1970. Construction took six days.
Smithson died in a plane crash in Texas three years after finishing the jetty.[5]
The sculpture has been owned by the state of Utah since June 2011.[6] Previously, the area was leased by the Dia Art Foundation of New York, who acquired the piece by a donation from Smithson's estate in 1999.[7]. The Dia Art Foundation is currently seeking a new lease from the state.[8]
In 1970 during the construction process of the jetty, Robert Smithson wrote and directed the 32 minute color film entitled "Spiral Jetty".[9] The film was shot by Smithson and his wife Nancy Holt, and funded by Virgina Dawn and Douglas Christmas.
The film provided documentation of the construction process and also formed an ancillary artwork. Smithson combines his interest in geology, paleontology, astronomy, mythology and cinema, stating that he had an interest in documenting "the earth's history".[10] In conjunction with filmed sequences of the jetty, Smithson incorporates footage of dinosaurs in a natural history museum and the ripped pages from a history text. During this scene Smithson critically refers to the institutions of history: "the earth's history seems at times like a story recorded in a book each page of which is torn into small pieces. Many of the pages and some of the pieces of each page are missing". [11] Smithson's narrative supports an alternative view of historical discourse and the art object's placement or production outside of the museum institution. His writings also indicate that the helicopter film sequences over the jetty were a method of "recapitulating the scale of the jetty".[12] By visually disorienting the viewer, Smithson is able to negate a time and place for the materiality of the artwork or create what he calls a "cosmic rupture".[13] Through this state the viewer will be unable to categorize or classify the site, therefore left in a state free from the dialect of history.
The current exposure of the jetty to the elements and to the ravages of its growing number of visitors has led to a controversy over the preservation of the sculpture. The discoloration of the rocks and the exposure of the lake bed having altered the colors of the original, a proposal has emerged to buttress the sculpture and restore the original colors by the addition of new basalt rocks in the spirit of the original. It is expected that without such additions, the sculpture will be submerged again once the drought is over.
The issue has been complicated by ambiguous statements by Smithson, who expressed an admiration for entropy in that he intended his works to mimic earthly attributes in that they remain in a state of arrested disruption and not be kept from destruction.
In 2008 it was announced that there were plans for exploratory oil drilling approximately five miles from the jetty.[14] The news was met with strong resistance from artists, and the state of Utah received more than 3,000 e-mails about the plan, most opposing the drilling[15].