Particia C. Phillips

  • Michael Singer

    Michael Singer has often been identified as an environmental artist. This classification in general has come to seem preposterous, and its application to Singer is simply unfitting. Although much of this artist’s work has occurred outdoors, it is not dependent on its immediate context; it has much more to do with construction, time, and process than environmental circumstances. What interests Singer is ritual-not obscure nature rites but traditional patterns of human behavior that have a sociocultural basis.

    In the two constructions and eight drawings in this exhibition Singer deftly balances

  • Robert Smithson

    Robert Smithson (1938–1973) is remembered for and represented by Spiral Jetty, 1970, Amarillo Ramp, 1973, and his concepts for other vast and often ephemeral earthworks, as well as for his non-site-specific gallery installations. So it was a treat to see work that predated the earthworks, that confirmed the great break Smithson made with art tradition and his own training. In these ten mixed-media drawings from 1961–63, Smithson’s facile mind and insatiable curiosity can be seen operating in a more concentrated and wittier mode.

    Smithson was obviously interested in natural history, geology, and