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A quintessential example of Smithson’s Nonsite series, the sculptural component of this work mines rugged, naturally occurring materials from geological “sites,” and assembles them in the “nonsite” of a polished museum space. 

This Double Nonsite is distinctive for gathering materials from two locations. Glassy obsidian from Mineral County, Nevada, contrasts porous cinder from California’s Mojave Desert. A framed map conflating the topography of these two locations hangs nearby. These volcanic rocks are prehistoric, and Smithson intentionally manipulates concepts of time by placing them in sleek, modern boxes. 

 embodies many such oppositions, measuring ideas of the past against the present, the organic against the fabricated, the sculptural against the two dimensional, and interior spaces against the outside world. 

“My method operates more in a dualistic frame of reference,” Smithson says, “that gives rise to an infinite number of possibilities.”

Point Sur Lighthouse

An innovative new exhibition at Missoula Art Museum

Cigar

Sunset

Max Weber

Interior with Music

Black Girl on Skateboard Going Where She’s Got to Go to Do What She’s Got to Do and It Might Not Have Anything to Do With You, Ever

Chanteuse

Pitch Blackness / Off Whiteness

Elizabeth Catlett

Homage to My Young Black Sisters

Fundamento de Palo Monte: Silueta Series (Gunpowder Works)

Peonies

Italian Day, 1918

Ana Mendieta

Esculturas Rupestres (Rupestrian Sculptures)

Robert Smithson  Double Nonsite, California and Nevada

Robert Smithson

Double Nonsite, California and Nevada

 explores the beauty and variability of nature. The artist painted multiple variations of this composition, manipulating the sunsets’ colors to achieve different effects. 

Foreboding twilight scenes were a favored subject for Gifford around this time, possibly due to the fact that the painter was a soldier in the Civil War, and had recently lost his brother. 

 uses a dramatic red sunset to symbolically refer to the explosive violence and somber mortality of battle. The campers in the lower right foreground represent Gifford’s longing for the prewar days of peaceful, brotherly fellowship spent in the mountains of New York. While stationed in Baltimore, the painter wrote, “I think often of my friends at home, of their quiet, peaceful lives---of the green fields, and the grand mountains, where but for these unhappy times, I would now be. . .”

Western Fronts: Cascade Siskiyou, Gold Butte, Grand Staircase-Escalante, and Bears Ears

Beacon Rock, Newport

Cinema de Pepsi Sketch I

Karl Bodmer

Herd of Bisons on the upper Missouri

Self-Portrait (Fright Wig)

Winslow Homer

The Shell Heap

Tree of My Life

Lost at Sea

Albert Bloch

Duell (Duel)

Sanford Robinson Gifford  Twilight in the Adirondacks

Peoria Riverfront Museum  -  Peoria, IL

Installation

Sanford Robinson Gifford

Twilight in the Adirondacks

In 1832, Karl Bodmer accompanied naturalist Prince Alexander Philipp Maximilian of Neuwied, Prussia (now in Germany) on an excursion into the American West. Although Maximilian and Bodmer were not the first to explore the terrain, their team was the first that combined a dedicated scientist with a skilled illustrator. The result of their efforts, 

Travels in the Interior of North America 1832 to 1834

, was published serially in between 1839-41, and included eight-one engraved etchings by Bodmer. 

On July 25, 1833, the party encountered this view of dazzling white bluffs, which Maximilian described in his journal as “a remarkable place, where we thought that we saw before us two white mountain castles.” Bodmer’s scientific attention to detail documents the flight and grazing patterns of wildlife, while his masterful compositional sensibility ably captures the scene’s grandness.

Georgia O'Keeffe
Dead Tree Bear Lake Taos

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Georgia O'KeeffeDead Tree Bear Lake Taos

About

Artist

Dimensions

Credit Line

Date

Medium

Object Number

Provenance

Availability

Discover More

Georgia O'Keeffe
Dead Tree Bear Lake Taos