R O B E RS TM I T H S O N

LandReclamation and the Sublime

THOMAS DREHER
LAND RECLAMATION

many states, only superficial measures are required. In some cases,the fines for neglectare lessexpensivethan For the group exhibitionof contemporary art Sonsbeek the measures themselves.3 '71 in the Dutch city of Arnhem, Robert Smithsonrealized Beginning in 1972,Smithsonattempted to win American Broken Circle and Spiral Hill in an inactive sand-pit in firms for Land Reclamation projects. Of Smithson's E m m e n .O n a c o n i c a l m o u n d , a s p i r a lp a t h r u n s c o u n t e r projects being plannedjust before his accidental death,a clockwise. At the top of the Spiral Hill is an observation TailingPond in Creede, Colorado had the greatest chances platform, from which the best view of Broken Circle, for becomingrealized.The TailingPond containsresidues, located on the edge of the flooded gravel pit, underneath which are produced as a result of the erosion of metal an embankment,is possible. Two circularsegments- a o r e . O v e r a p e r i o d o f 2 5 y e a r s ,n i n e m i l l i o nt o n s w e r e t o d a m a n d a c a n a l- a r e l a i d o u t a r o u n d a n i n n e r c i r c l e , be conductedto the terracing.A circular 'dam tapering which is divided into two segmentsof water and earth. into road' with a diameter of 2000 feet (50.8 meters) was That which is water in the one half, is earth in the other to be directed around the terraces,with their concave half. ln Broken Circle, two semicircles correspondto one downward leadingcurves. In addition, a street was another formally and are simultaneously opposed in terms planned,which was to bisectthis circle and the 'graded of material,Somewhat removed from the center of the b a s i n 'a r o u n d i t . s circle lies a large boulder. The rock is one of the largestof The KennecottCopper Corporation declinedits support. 'Bingham its kind in Holland. lt was carried here during the lce Age For their enormous Mine' rn Utah, with its three by a glacierwhich ran diagonally acrosspresent-day mile wide hole, Smithsonhad suggested a circularlake.6 Holland. The materialized presenceof a center disturbed Four dams comprisedof circularsegmentswere to lead Smithson.The expenseto remove the erratic block, into a center consisting only of water. With this liquid however, was too great. Finally, he thought: lt became a center between curved dams, the miningterraceswould dark spot of exasperation, a geological gangrene on the have appeared as the outer ringsof an inwardly (counter'heart sandy expanse...akind of glacial of darkness' - a clockwise)or outwardly (clockwise) rotating whirlpool. warning from the lce Age.l Smithson'sproposalsfor Land Reclamation projects of The centripetal,upward winding spiral path and the mining pits formed as a result of inexpensive surfacemining centrifugalBroken Circle 2 with its dam and canal, made more expensiverestoration,such as refilling, for complement each other as much as they neutralizeeach example, unnecessary. Combinesactive in the mining of other. raw materialsnevertheless preferred to transform the The sand-pitwas already intended as a recreationarea devastatedland into recreationai areas;they could then when Smithsonchose the site. In reactionto the local advertisewith this that they would be leavingthe land in a population'sacceptance of the project, Smithson's much better conditionthan it ever had before.TSmithson, contributionto the exhibitionwas maintaineoas a o n t h e o t h e r h a n d , p l a n n e dp a r k - l i k e monuments, in which permanent installation. the loss of non-regenerative resourceswould not be The government of the US State of Ohio resolvedin April h u s h e du p . 'King 1972 that owners of abandonedmining pits must adopt The County Arts Commissionof Seattle' organized precautionarymeasures since,with high miningwalls, Earthworks: Land Reclamationas Sculpture with seven poisonousacidsare formed as a result of the combiningof artists in 1979.For this exhibition,Robert Morris realizeda carbon and air. These acidscontribute to the hot-house project within a defunct coal mine on the edge of Kent effect. Sincethen, in Ohio, the gradient of abandoned Valley. Except for the largesttrees, Morris had all m i n i n gp i t s m u s t n o t e x c e e d3 5 " . I n 1 9 7 7 ,P r e s i d e n t vegetationremoved. The remaining trees were cut to a Carter signedthe Surface Mining Control and Reclamation height of approximately6 feet (l.B meters) and painted Act, which specifies that revenuefrom operatingcoal black with creosote, The mining pit was divjded into six mines be chargeda supplementary tax and that the descending terraces and planted with clover.sThe green, individual federal states be responsible for the regulationof terraced mine became a memorial to the exploitationof these measures. The money collectedfrom this nature. supplementary tax is accruedto the Department of the In terms of his Earth Art projects, MichaelHeizer, unlike lnterior's Office of Surface Mining. This 'department' Morris, was interestedsolely in artistic aspects,even when distributesthe money to the 'Abandoned Mined Lands working in abandoned mines: I don't support reclamationReclamation Councils'(AMLR) of the federal states. ln art sculpture projects.9

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!' 1 :

Robert SMITHSON

Eroken Circle, l97l-72and SpiralHill, l97l

(Emmen, Holland) Courtesy John Weber Gallery, New York

Heizer'sprojectEffigy Morris' projectsand especially RockMesa(1983-85) throw light Tumulion the Buffalo in Americaafter upon the financing of Land Reclamation of the of the 1977Act. The Foundation Carter'ssigning Company, whichownedthe former coal Ottawa Silica selected and paidthe artist. minesalongthe lllinois'River, donated the land to the Stateof lllinois, Furthermore, they 'Buffalo it into the RockStatePark'.r0 whichintegrated On by AMLR,Heizerformedfive the landdecontaminated regional animals from wallsof earthwith forms recalling 'diffracted I of the largeearth gestalt'r The linearedges. wallscan only be seeniryldfView from an aircraft.Earlier, had alsobuilt of the northernpart of lllinois the lndians animal forms('effigy suchwallsof earth representing references to ecology, but tumuli'):Heizerwas not making ratherto history. for ecologically for Morrisa stimulus Smithson became based outdoorart, whichwould hinderfurtherdamage exploitation of nature.l2 caused by the nonregenerative contextual art transforms the devastated This ecological, grass coveredopen spaces, without landinto public, of the devastation. concealing the consequences necessary, with Intervention is reduced to the ecologically of nature. accents alsoreferring to the exploitation and was interested in both ecological Whereas Smithson questions of landscape architecture and planning, aesthetic the difference between Morrislimitedhimself to exploring economyand ecology.Heizer'sEffigyTumuli,on the other conflicts in a history hand,withdraws from ecological orientedoark situation.

AND THE PICTURESQUE THE SUBLIME

Law Olmstedand the In his last article,Frederick a relationship Smithson establishes Landscape,l3 Dialectical as means of the sublime discourse by both to aesthetic Smithson well as to the traditionof the picturesque. 'Central lB5BPark'(Manhattan, analyzes New York's 1874), whichwas laidout by Olmstedand CalvertVaux 'man-made in the faceof strong wasteland'ra over a Smithson refersto on the part of speculators. opposition - treatises on the the - for Olmstedparadigmatic (1724-1804) picturesque William Gilpin by the Englrshman Edmund Price(1747-1829). Following and Sir Uvedale of the (17291797) definitions of the concepts Burke's the and the sublimers beautiful , Giloinand Pricesituate picturesque According to Gilpin, between thesetwo poles. aroused by simple of the sublime, the strongimpression of in picturesque representations ideas, is weakened elements, suchas landscapes by varietythroughnarrative people, etc.r6 ruins,cottages, in picturesque, did not placehisEarthworks Smithson landscapes, but ratherin uniformand vacant diversified 'scenes Furthermore, in of desolation'.17 ones,preferably mentioned above,he did not in the Land Reclamations whichprovokes work with the varietyof the picturesque, Burkehad described attention, but ratherwith uniformity. and uniformity of parts as artificialinfinite in the succession whichis requisite of the sublime:/. Succession; the sense that the parts may be continuedso long, and in sucha on the senseto direction, as by their frequent impulses 77

Robert SIYITHSON /s/andProject, 1970 P e n c io l n p a p e r 4 8 x 6 l c m C o u r t e s yl o h n W e b e r G a l l e r y ,N e w Y o r k

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''r'1"'ol]impressthe imagination with an idea of their progress b e y o n d t h e i r a c t u a ll i m r t s . 2. Uniformity; becauseif the figuresof the parts should be changed,the imagination at every changefinds a check, you are presentedat every alterationwith the termination o f o n e i d e a ,a n d t h e b e g r n n i n o gf a n o t h e r ;b y w h i c h m e a n s i t b e c o m e si m p o s s i b l e to continue that uninterrupted progression , h i c h a l o n e c a n s t a m p o n b o u n d e do b j e c t s w the character of infinity.rs

CENTER AND PERIPHERY

In two of his numerousarticles,Robert Smithsonquoies the following sentenceby BlaisePascal (1673 1662):Nature is an infinite sphere whose center is everywhere and whose circumferenceis nowhere.22 The Jansenist Pascal rejected.Jesuit casuistry and 'metaphysical proof for the existence of God', For Smithson,Pascal's searchfor meaningbetween intuition and philosophica cl o g n i t i o nb , etweenunconditiona l ith fa Smithson's SpiralJetty,)eSpiralHill and drawingsof spiral and rationalskepticism, became a stimulant.Pascal wrote: Earth Art projects can be analyzed in terms of Burke's Car, enfin, qu'est-ce que I'homme dans la nature? Un 'uniformity' 'succession'. c r i t e r i ao f and And Gilpin's nant l'gard de l'rnfinr,un tout l'gard du nant, un ' 'extension' . c r i t e r i ao f ' s i m p l i c i t y ,' 'c o n t i n u a t i o na nd e x p l a i n milieu entre rien et tout. lnfiniment loign de comprendre S m i t h s o n ' s p i r a lE a r t h w o r k s w , h e r e a sW i l l i a m L o c k ' s les extrmes; la fin des choseset leurs principes sont pour ' r e p e t i t i o n ' ,' f o r m a l i t y ' 'regularity' c r i t e r i ao f and a p p l yt o lui invinciblementcachsdans un secret impntrabte...Ce m i n i m a l i ss t culptures b y D o n a l dJ u d d ,S o l L e W i t t , R o b e r t milieu qui nous est chu en partage tant toujours distant Morrisand Smithson ( 1 9 6 a6 Q , w h i c h c o n s i s t o f s e r i e so f des extrmes, qu'importe qu'un homme ait un peu plus regular or regularlyvarying,massiveunits and/or intervals. d'intelligencedes choses?S'il en a, il les prend un peu de G i l p r nw r i t e s i n a l e t t e r t o L o c k w r i t t e n o n S e p t e m b e r2 9 , plus haut, n'est-il pas toujours, infiniment loign du bout, l7B2: Now if this be just, there must be a conttnuattonet la dure de notre vie ne l'est-elle pas galement not a repetitron, of the same idea...the continuation of one infiniment de l'ternit, pour durer dix ans davantage7.z3 'eternity' 'infinity' large object, ranging uninterruptedly, & uniformty, through Smrthson s e c u l a r i z eP d ascal's and into ' g e o l o g i c a vast space. Simplicity is the principal source of sublimity, time',2a in the faceof whichthe time of (human as variety is of beauty.za and) art history become relativized:When one scans the In the immediately e v i d e n tc o m p l e m e n t a r i t o y f t h e c i r c u l a r ruined sites of prehistory one sees a heap of wrecked segmentof the Broken Circle in Emmen, the double maps that upsets our present art historical limits..,There interruption o f t h e c i r c l ea p p e a r sa s i n a t o t a l c o r r e l a t i o n are...no traces of an end or a beginning.)s ( ' c o n t i n u a t i o n ' , ' u n i f o r m i t yo ' )f r e g u l a ri n t e r v a l s The potentiallyrandomly inwardly and outwardly ( ' s u c c e s s i o n 'n )o , t as djvislon f o r t h e s a k eo f v a r i e t y . expandable s p i r a lw h i c h c a n b e e n t e r e d b y t h e v i e w e r Smithson's o e u v r e e n c o m p a s s ets h e s u b l i m ea n d t h e representsa standpointthat is alwaysdistant from 'nothingness' 'the p i c t u r e s q u et:h e g r e a t g e s t u r ei n g r a n d , s i m p l e ,e x p a n s i v e and inftnite'b : eginning and end are and raw nature, next to the picturescuein fantastic a b s e n t ,o n l y a d i s t a n c e b e t w e e nt h e s e i s p r e s e n t . drawingsfrom 1970with the title EntroprcLandscapeand lsland Projecf. ln project drawings such as Floating lstand; From Smithson,there are two interpretations of the To Travel around Manhattan lsland from 1970 and r e l a t i o n s h io p f c e n t e r a n d p e r i p h e r ym e n t i o n e db y P a s c a l : Meandering lsland (Little Fort lsland, Main-e)from 197l, a.) Center and periphery are opposrJes, both of which picturesque Earthworks are proposed.Tl refer to the other: You then have a dialecticbetween the

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point and the edge:...a k i n d o f P a s c a l i ac na l c u l u s between the edge and the middle or the fringe and the center.26 b.) The center is absent and still or no longer negatively definable by the periphery: The finite present of the center annihilitates itself in the presence of the infinite fringes.2T ln two projects,Smithsonaddresses the relatronsbetween center and periphery particularly clearlyin the senseof a.) and b.). ln regards to a.): In Texas Overflow, according to a round elevationof Iight Smithson'sdrawingsfrom I 970,28 limestone(or bright yellow sulfuricstones)and earth was abandonedmining pit. to be constructedin a semicircular, Into this elevation,asphaltwas to be pumped: a closed circle of tar was to open itself up while streamingpast towering limestoneinto the pit. poured ln regards t o b . ) : l n 1 9 6 9 ,S m i t h s o n had asphalt down the embankmentof a garbagedump in Rome (Cava of the di Selce).2e The black mass ran along the channels ln Asphalt Rundown, as in Iexas eroded hillside. Overflow, a continuous,informallyextensivesurfacewas created. A primary form as the central startingpoint of the extension,however, was lacking.In one drawing, the rectangular loadingareas of four trucks are the source of The dried asphalt an entropy of 1000 tons of Asphalt.30 was the trace of an action, which referred to an absent were source, an absent center. The hardenedtar surfaces exposed to future soil erosion,to which they - in contrast to their original,hot fluid state - were no longer able to adapt. Asphalt Rundown, as long as it did not fall 'in into ruin, was a state of arrested disruption'.31 The Earthworks Asphalt Rundown and Texas Overflow they can are narrativeand therefore picturesque,because be read as traces of actions,which proceededfrom a sublimeEarthworks center to a periphery. Smithson's abandonthis readability. With the complementarityof direction and counter-direction in the simultaneously progressive and regressive spiralsand the reversely symmetric analogy in Broken CircleL , traces of an actiontime are negated. Asphalt Rundown and lexas Overflow, unlikethe sublimeEarthworks,cannot be entered, but only viewed and are, therefore, as a result of their pictorial nature, picturesque.

Robert SMITHSON sphalt Rundown, li969 (Roma, ltaly) Courtesy Estateof R.S. and JohnWeber Gallery, New York

the whole: what would still need to be explained,if it is questionable whether there is indeed anythingto explain at all?Smithsontermed the sphere of being not inferable 'dimension 3sthe of the absence'S from consciousness closed to the center of being the absolutelyunfathomable,
CONSCIOUSNCSS.

ABSENCE
The sublimerepresents,accordingto lmmanuelKant (17741804), the expressionof a differencebetween the (an idea or a perception)and subject of representation representation: if - saysKant - the subjectcannot be adequatelyrepresentedin sensual media, then the 'objective inadequacy of the power of imagination' should be expressed Erhaben ist, was auch nur denken zu knnen ein Vermgen des Gemts beweiset, das jeden Mastab der Sinnebertrifft.32 Lyotard usesthe sublimeto confront the Jean-Frangois 'philosophical discourse of modernity'31 inaugurated by Kant and Hegel with a questionthat is not inferablefrom I Why does somethinghappen rather than consciousness: nothing?3a Kant's specialsphere of the sublimeis transformed by Lyotard into an inquiry into the adequacyof rationalityon

- is - the picturesque In the sublime, the narrative abstained from as far as oossible to be able to concentrate 'the 'self : the and the non-self'36 on the border between f o r m a s c i p h e ri n s i m p l e ,e x t e n s i v e s i m p l e ,c o n t i n u o u s formations confrontsthe viewer-selfwith landscape too little to stimulate somethingforeign, which possesses the fantasy.The form appearsdetachedfrom its origin: the formal continuityof a spiraldoes not appear conclustve to the recipient - as with Texas Overflow and Asphalt of its processes Rundown - only after the reconstruction of realization.ln walkingalong the dams, the recipientsare given time to fill the void with their own projections- or they simply take note of the being of the work in a 'walking time', whrch is exempt from goal directed haste. ' s i m p l i c i t y '',c o n t i n u a t i o n ' and W i t h i t s p r o p e r t i e so f 'extension', receiving-self Earthwork casts the the sublime back onto itself.

THE PRESERVATION VERSUS THE DOMINATION OF NATURE

In Heizer's Earthworks,which are pictorialand, at the same time, sculpturally break the pictorial,natural and artificialmaterialsare subjugated to a technicaldomination organizedaccordingto artistic points of view. This is true not only for Effigy Tumuli, but also for geometric works such as Complex One/City (197276)37of compressed earth, concrete and steel in the Nevada Desert. Heizer provokes the viewer to reconstructhis self-contained

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Robert SIYITHSON One of the Nrne drawingsfor Texas Overflow, 1970 Drawing 30 x 45 cm CourtesyJohn Weber Gallery, New York

monumentsw , h e r e a sS m i t h s o nw , ith hiscontextualized, water permeated, spiralworks, offers passages between nothingness and infinity.With Smithson's SpiralJetty or Broken Ctrcle, the viewer is 'in' the work; with Heizer, on t h e o t h e r h a n d ,h e i s ' i n f r o n t o f ' o r ' o n ' i t : b e t w e e n the representative form of the Tumuli and the possibilities of walkingon them, exists at best a distancedcorrelationin c o n t r a s tt o S m i t h s o n ' s d a m s ,w h i c h f e i g nt h e p o s s i b i l i t o yf w a l k i n gu p o n t h e m . T h e v i e w e r w h o w a l k s o n S m i t h s o n ' s SpiralJetty or Broken Crrcle looks beyond the work itself onto the surrounding environment The relationshio pf t h e v i e w e r ' i n ' t h e w o r k t o t h e l a n d s c a pie s ,f o r S m i t h s o n , at least as important as the top view. With Heizer, on the other hand, the view o{ the Tumuli from an airplaneis of considerable importanceto the perceptionof its total form and descriptive f u n c t i o n .S m i t h s o n ' s forms are easily recognizable from the ground. Whereas, in Effigy TumuI, Heizer romanticizes the past, 'Kings Morris, in his Land Reclamation for the County Arts Commission o f S e a t t l e ' ,d e m o n s t r a t e s the dark sideof the present. With his works, which are both ecologically o r i e n t e d i n M o r r i s ' s e n s ea n d f o r m a l l yc o n s c i o u s in Heizer's sense,Smithsonappearsto mediate between both of these standpointsby preserving their contrast in the sublime. E c o l o g i c a lo ly r i e n t e dL a n d R e c l a m a t i o a nn d t h e post-modern interpretationof the sublime,radicalized to a criticism o f r a t i o n a l i t ya , r e c o m p l e m e n t st:h e u n b r o k e n domination o f n a t u r e i n t h e m o d e r n t r a d i t i o ns r a n o sI n 'objective opposition to the admission of the i n a d e q u a co yf the power of imagination ' m b o d i e dw i t h i n t h e s u b l i m e .I e

B. The Drawings of Robert Morrr. Exhibition Catalogue. Williams Colege Museum of Art, Williamstown , a s s a c h u s e1 M t t9 s8 2 u , npagnated J; . BEARDSLEY, Earthworks and Beyond..., New York 1985,pp. 90-95 9 . l Y . H .i n : D . B O U R D O N , Working w i t h E a r t h . . .i,n : S m i t h s o n i aN no , . 1 7 ,A p r i l 1 9 8 6p , .74. 1 0 .D . M c G l L L M , . HEIZER : ffigy E T u m u l ,N e w Y o r k t 9 9 0 ,p p . t 6 , 7 t , 3 5 , i t , 4 0 (lY.H. received an additional $ 25,000from the nNational Endowment for the Arts)) I l . l Y c G l L Lp , . 43 yay 12, ln: J. BEARDSLEY, R.5. and the Dialectical Landscape, in: Arts Magazine, p. 134 I, BEARDSLEY, 1978, Earthworks and Beyond..., New York 1985,pp. 89ff. HarveyFite is mentonedhere as a forerunner, whosemodiflcation of an abandoned cupricsulphate pit from 1939to 1976did not, however,resultfrom ecological necessity. For anotherecologically orientedproject,whichsoughtto protect the environment from further destruction see: H. STACHELHAUS, /oseph B e u y sD , sseldor f9 8 7p 1 , . l8l 1 3 .R . S .p , p . | 1 7 ,1 2 8 1 4 .R . S . p , . I I7 15. E. BURKE,n: J.T. BOULTON (ed.),A Philosophicat tnquiryinto the Originof our ldeasof the Sublime and Beautiful, London 1958 1 6 .P . B A R B I E R , illiam W G l L P l N . . .O , x f o r d 1 9 6 3p , p. 98-t2l 17.W. GlLPlN,Dialogues on VariousSublects, London 1807,pp. 393-397; p,, 1 0 9 BARBIER 1 8 .B U R K Ep , . 74 1 9 .H O B B Sp , p. 191-t97 ; . S .p R , p . 1 0 9I l 6 p,. 1 2 9 20. BARBIER 71. R.S.:Drawings. Exhibition Catalogue, The New York CulturalCenter,New York 1974, p p . ) 4 , 3 7 , 7 4 : R . S .1 9 3 8 1 9 7 3 Z: e i c h n u n g eE n. x h i b i t i oC natatogue. GalerieRolf Ricke,Cologne1980, unpaginated; R.S,:Drawings from the Estate. E x h i b i t i oC natalogue W . e s t f l i s c hL ea sn d e s m u s e uM m , n s t e r1 9 8 9 p , . 1 3 5 ;E . ISAI, Unearthed: Drawings, Collages, Writings, New York 1991,p. 184 placed Hobbsand Beardsley Smithson's Earthworks in the traditionof the picturesque, wherebythe latter regards the landscapes chosen by Smithson as sublme (. BEARDSLEY, Traditional Aspects of New LandArt, in: Art lournal, Fall 1 9 8 2p , p , 2 2 7 ,) 3 1 ; H O B B S p , . 2 9 ) .A d c o c k ,K u s p ia t ndSayre connected Smithson's EarthArt to the sublime (C. ADCOCK, The Big Bad..., tn Arts Magazine A,p r i l 1 9 8 3 p , . 1 0 4 ;D . K U S P I T , .S.'s R Drunken B o a t( 1 9 8 1 )i,n : i d . N e w Subjectivism..., Ann Arbor/London1988, pp. 718,229: H.lY. SAYRE, The Object of Performance..., Chicago/London 1989, pp. 216 with note 13, 260ff.).Eachof theseapproaches is only partiaily adequate. 2 2 . Q u o t e dw i t h o u tr e f e r e n c ie n : R . 5 . ,p p . 7 5 , 6 7 , 7 3 : a l s oq u o t e di n S m i t h s o n ' s w o r d s i n : T S A I ,p . 1 0 6 .F r o m S m i t h s o n m ' s e t h o do f q u o t i n gi,t f o l l o w s that he copiedfrom JorgeLuisBorges'Ihe Fearful (accordrng Sphereof Pascal to Eva S c h m i ditn : T S A I ,p . 1 2 5 ,f r o m i d , L a b y r i n t h s ,e w Y o r k 1 9 6 4 , N p p . 1 8 9 , 1 9 2I)n . the originalit reads: C'est une sphereinfiniedont le centre est partout, la circonference nullepart (B. PASCAL, ln: L. BRUNSCHVICG, (ed.)Pensees, Parrs 1 9 0 4V , ol. l, p, 73)In 1966, playng o n B o r g e st'i t l e ,S m i t h s ow n rote about 'fearful Pascal's sphere'(R.S., p. 34). Smithson's understanding of Pascal was not limited,however,to the contentof Borges' article- see alsohis noteson Pascal's dialectics and hrscomparison of Pascal and Descartes in: TSAI, p. 103. 23. PASCAL,pp. 78, 86ff . p. 89 24. R.S., 25. R.S., pp. 89ff. 2 6 . R , S .p , . 168 2 7 . R . S .p , . 73 28.(notrealized ) O B B Sp H , p . l 9 8 f f . ;B E A R D S L E p Y., 2 0 2 9 . H O B B Sp , p. 174-)77 30. R.S.Drawings from the Estate.Seenote 21, p. ll5 3 1 .R . S .p, . 8 7 32. L KANT, Kritik der Urteilskraft, Frankfurt am Yain 1977,pp. 172, 195 33. j. HABERMAS, Der philosophische Diskurs der Moderne,Frankfurt am flain 1 9 8 5p ,.30 34. B. BLISTENE, A Conversation with J.-F.Lyotard,in: Flash Art, No. l2l, IYarch 1 9 8 5p , . 33 35. R.S.,p. 103;cf. j.F. LYOTARD,Philosophie und Malerei..., Berlin 1986,p. 35 3 6 . R . S .p , . 84 37. E.C. BAKER, Artrlvorks on the Land, in: Art in America,january-February p p . 9 3 f f . ;f ' 1 c G l L L 1976, p,p . l 9 f f .

Translation from the German by Gdrard A. Goodrow Andreas Fritsch, Cologne.

and

l . R . S .W r i t i n g s . .N . ,e w Y o r k 1 9 7 9p , . 1 8 2 :c f . R . C ,H O B B S R , .S.: Sculpture, lthaca/London I 98| , pp. 139,708214 2 . H O B B Sp , . 209 3. R, MORRIS, Notes on Art as/and Land Reclamation, in: October, No. 12, S p r n g 1 9 8 0p , . 9 l ; H O B B Sp , . 2 1 7 :) . B E A R D S L E Y E,a r t h w o r ka sn d B e y o n d . New York 1989, pp.97ff. 4. Planecrashon July20, 1973,nearhis planned Earthwork Amarillo Ramp, MarshRanch, Stanley Amarrllo, Texas pp.774-727 5. HOBBS, pp.223ff. 6. HOBBS, p,. 9 0 ; H O B B Sp 7. MORRIS , . 219

Robert SIYITHSON (" l93B Passaic,New Jersey, + 1973 near Tecovas Lake, Texas) iived and worked in New York. T h o m a s D R E H E R( ' 1 9 5 7 ) i s a n a r t c r i t i c a n d l i v e s i n M u n i c h ,

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