![]() ![]() About 100 miles north of Salt Lake City is the Golden Spike National Historic Monument, the site where the Eastern and Western railroads met and changed the course of American history. This is no accident: one must earn this experience. Although it is remote, it is not completely inaccessible, and, since its re-emergence, visits to Spiral Jetty have increased dramatically.Įxperiencing the pilgrimage to Spiral Jetty requires, first of all, a truck or other vehicle with high ground clearance. Photographs and essays provide an adequate conceptual understanding of the piece, but the primary experience of visiting the site, and the pilgrimage required to get there, enriches the experience enormously. In spite of the abundance of secondary source material, Spiral Jetty‘s isolation and its long submersion have made it relatively inaccessible, ironically increasing its mythical proportions. When they finished, the Jetty was a road 15 feet wide and 1,500 feet long, coiled into a spiral.Īs is true of most earthworks, the “size” of Spiral Jetty is unrelated to its physical dimensions. Over the course of six days in April of 1970, Smithson and two assistants used two dump trucks, a front loader, and a tractor to move 6,650 tons of earth and rock from nearbyhillsides into the lake. Once Smithson decided on the isolated location and the ancient form of his monumental earthwork, construction began. In other instances, as in a petroglyph found near Cedar City, Utah, the horizontal line might indicate the surface of the ground, below which the spiral extends to symbolize a flash flood originating below the crest.3 Smithson had a great interest in petroglyphs, and, even after he completed Spiral Jetty in 1970, he continued to visit Indian rock art sites in Utah. Indian rock art throughout the American southwest often depicts this reverse spiral as connected to a horizontal line, which suggests a beginning point-the lakeshore in this case. ![]() Interestingly, he reversed the usual direction of the spiral its counterclockwise movement suggests infinity, rather than the more typical connotations of moving water or a human odyssey. Smithson wisely chose a spiral for his massive earthwork, a symbol at once ancient and universal, occurring in many world cultures. Of course, it is only possible to speculate about what Spiral Jetty “means”: its ambiguity is part of its transcendent effect. Clearly, this offers the perfect setting for an exploration of time, space, and mutability. Yet, within any given hour, the water transforms to bright turquoise or coppery brown, pea soup green or cobalt blue. He selected a site at Rozel Point because of the bacteria, brine shrimp, and algae growing there, which turn the water close to shore the color of pale blood. In addition to the lake’s magical shape-shifting, Smithson was no doubt drawn to its astonishing and constantly changing colors. ![]() A rise of a few feet in the lake level may change its contours amazingly and add hundreds of square miles to its surface area.”2 All its shores slope so gently that its shoreline is subject to extraordinary fluctuation. The lake’s dimensions, according to Morgan, “can rarely be stated with any precision. Morgan calls it “the Lake of Paradoxes…an ironic joke of nature-water that is itself more desert than a desert.”1 ![]() Early photographs show people bobbing on its surface, unsinkable in its salty buoyancy. As the remnant of the ancient, fresh-water Lake Bonneville, which was about the size of Lake Michigan, the Great Salt Lake today measures 75 miles long by 50 miles wide and is second only to the Dead Sea in salinity (between 10 and 25 percent). The lake itself epitomizes change and unpredictability. All images: © estate of Robert Smithson / licensed by VAGA, ikonos satellite image provided by space imaging. Earthwork in the Great Salt Lake, Utah, as seen from the 1,600 pound Ikonos satellite, 423 miles up in space. Robert Smithson, Spiral Jetty, April 1970. When it reappeared, after five continuous years of drought, it was no longer a massive coil of black basalt but a glittering white spiral of encrusted salt-a transformation even its creator could not have predicted. April of this year marked the 34th anniversary of this causeway of basalt coiling out into the briny lake.įor decades-years rich with rain and even floods- Spiral Jetty lay submerged like some prehistoric desert dragon, waiting on time and nature’s cycles to resurface. This landscape is vast, isolated, dreamlike-the perfect site for Robert Smithson’s meditative earthwork, Spiral Jetty. Seen from a hilltop at the north end of the Great Salt Lake, open-range grass and sagebrush stretch north, the pastel Wasatch Mountains lie low along the eastern skyline, and distant islands float in mirages to the south and west. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |