![]() As activists demonstrated as a response to his announcement, the art world too engaged in the conversation. With the succinct diatribe, “we’re getting out,” he unequivocally reversed the United States’ green energy policies and pact with global leaders to collectively reduce pollution and combat climate change. ![]() In June of 2017, President Trump declared his intention to withdraw from the Paris Agreement on Climate Change. From the various filmic modalities cited as examples, we will question the aporia of this approach. In an epistemological overthrow of its own ontology, the Land art finds by the cinematographic recording, a place in the heterodox places to art and nature as inseparable entity (the cinema, the exhibition gallery.). In front of these three examples, it will be necessary to wonder about this astonishing aesthetic experience of a work that does work beyond itself. Finally, the visual artist Tacita Dean also follows the steps of the Spiral Jetty in the film she dedicates to the science fiction writer JG Ballard, whose work The Voices of Time built in a future – where there is a threat of a disappearance of the species (human, animal or vegetal) –, a huge mandala in the desert. In a fragmentary way, the film follows Benning’s repeated stays at the Great Salt Lake to see the Spiral Jetty. In Casting a Glance, the American artist James Benning develops a reflection on the gaze, that works in the contemporary age. ![]() By flying in his eponymous film the Spiral Jetty over the helicopter, the artist grasps a scale report that disorients the viewer as well as prevents the work from being definitively fixed to its museum fate. The award is given to an individual, team or organization that has shown superior achievement in any aspect of the museum field during the previous 18 months within Utah’s museum community.In 1970, the American artist Robert Smithson built at the end of the Great Salt Lake a work that became emblematic of Land art: the Spiral Jetty. The UMA 2015 Award for Excellence in Programming was presented to UMFA staff Wednesday, October 8, at the UMA Awards Dinner at Thanksgiving Point in Lehi. (To receive information about this and other UMFA programming, please sign up for our twice-monthly e-newsletter.) In 2016 the UMFA will expand its Land art-related outreach by hosting ARTLandish: Land art, Landscape, and the Environment, a year-long initiative of lectures, films, panel discussions, tours and other events that investigate our complex relationship with the Earth. The work’s exceptional art historical importance, unique beauty, and remote location regularly draw visitors and media attention from throughout Utah and around the world. Museum staff have also hosted free public programming, presented Land art-related works by Smithson and other artists in its galleries, and developed online resources that serve visitors locally and worldwide.Ĭheck out the “Spiral Jetty” Backpack for free at the UMFA front desk and take it with you for hands-on fun and learning.Įarlier this month, UMFA and GSLI hosted a free community meet-up that drew almost 100 visitors to the Jetty in a single afternoon, many for their very first time. UMFA staff have produced and distributed interpretive and educational materials designed to deepen visitors’ experiences, including printable guides and a Family Backpack visitors can check out for free at the Museum and take to Spiral Jetty for hands-on engagement. The UMFA and Great Salt Lake Institute at Westminster College collaborate with New York-based Dia Art Foundation-the official steward of Spiral Jetty-to preserve, maintain, and advocate for the work. The UMFA has done “remarkable work as local stewards (and collaborative partners),” to encourage public engagement with and appreciation of this important work of art, according to a UMA statement. Robert Smithson (American, 1938–1973), “Spiral Jetty,” 1970, black basalt rock, salt crystals, earth, water. AP Art History students from Bingham High School at Rozel Point, Great Salt Lake, Utah.
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