- Entropic Steps is a 1970 drawing by Smithson.
- Joan Evans and John Howard Whitehouse, eds., The Diaries of John Ruskin 1848–1873 (Oxford: Clarendon Press, 1958), 389.
- In its attempt to ground a revival of English landscape romanticism in Ruskin's theories of beauty, Peter Fuller's Theoria: Art and the Absence of Grace (London: Chatto and Windus, 1988) probably did little to convince artists and theorists of Ruskin's critical relevance to any aspects of contemporary practice. While there is ongoing and substantial research on Ruskin coming from art, architectural, cultural, and literary historians, informed discussion of Ruskin within contemporary-art discourse happens rarely, and usually briefly. See Dave Hickey, ‘Reading Ruskin Writing’, Art in America (November 2000): 128–33; Brian Dillon, ‘Fragments from a History of Ruin’, Cabinet 20 (Winter 2005–6): 55–60; Brian Dillon, ‘Weather Girl’, Frieze (June-August 2003): 66–7. Richard Shiff's essay ‘It Doesn't Reveal Itself’ puts what Kirkeby calls his ‘endless fascination’ with Ruskin firmly in place; in Achim Bochardt-Hume, ed., Per Kirkeby (London: Tate Publishing, 2009), 30–47.
- John Ruskin, Modern Painters (London: George Allen, 1906), vol. 4, 319.
- John Ruskin, Modern Painters (London: George Allen, 1906), vol. 5, 317.
- Ibid.
- Ibid., 318.
- David Trotter, Cooking with Mud: The Idea of Mess in Nineteenth-Century Art and Fiction (Oxford: Oxford University Press, 2000), especially 1–59 and 79–114.
- John Ruskin, Deucalion, King of the Golden River, Dame Wiggins of Lee, The Eagle's Nest (Boston and New York: Colonial Press Company, n.d.), 75, 76, 94.
- John Ruskin, Deucalion, 99.
- John Ruskin, Praeterita (London: Hart-Davis, 1949), 456.
- John Ruskin quoted in Sheila Emerson, Ruskin: The Genesis of Invention (Cambridge: Cambridge University Press, 1993), 71, my emphasis.
- John Ruskin, Modern Painters, vol. 4, 112.
- John Ruskin, Deucalion, 103.
- The Diaries of John Ruskin 1848–1873, 503.
- Ibid., 409.
- John Ruskin quoted in Sheila Emerson, ‘The Authorization of Form: Ruskin and the Science of Chaos’, in Chaos and Order: Complex Dynamics in Literature and Science, ed. N. Katherine Hayles (Chicago and London: University of Chicago Press, 1991), 152.
- Joan Evans and John Howard Whitehouse, eds., The Diaries of John Ruskin 1874–1889 (Oxford: Clarendon Press, 1959), 867.
- John Ruskin quoted in Kay Redfield Jamison, Exuberance: The Passion for Life (New York: Alfred A. Knopf, 2005), 125.
- Joan Evans and John Howard Whitehouse, eds., The Diaries of John Ruskin 1835–1847 (Oxford: Clarendon Press, 1956), 138.
- John Ruskin, Modern Painters, vol. 4, 148.
- Rachel Dickinson and Keith Hanley, eds., Ruskin's Struggle for Coherence: Self-Representation through Art, Place and Society (Newcastle upon Tyne: Cambridge Scholars Publishing, 2008). See especially Clive Wilmer, ‘Ruskin and the Sense of an Ending: Apocalypse and Literary Form’, Francis O'Gorman, ‘Ruskin's Mountain Gloom’, and Debora Sherman, ‘A Sublime of Memory: Ruskin's Praeterita’.
- John Ruskin, Modern Painters, vol. 4, 358–64.
- The Diaries of John Ruskin 1874–1889, 503–7.
- Robert Smithson, lecture to architecture students at University of Utah, 1972, reprinted as ‘Insert Robert Smithson Hotel Palenque, 1969–72’, Parkett 43, n.p.
- Cliver Wilmer, ‘Ruskin and the Sense of an Ending’, 26.
- These phrases are all from Nancy Holt, ed., The Writings of Robert Smithson (New York: New York University Press, 1979), 190, 69, 186, 60, 113, 64, 56, 20. The reference to ‘overwhelming’ physicality is from Eugene Tsai, Robert Smithson Unearthed: Drawings, Collages, Writings (New York and London: Columbia University Press, 1993), 113.
- Alberto Giacometti, quoted in Nancy Holt, The Writings of Robert Smithson, 34.
- John Ruskin quoted in Kay Redfield Jamison, Exuberance, 125.
- Robert Smithson, ‘Art through the Camera's Eye’, in Eugene Tsai, Robert Smithson Unearthed, 91.
- Robert Smithson in Nancy Holt, The Writings of Robert Smithson, 15.
- See my discussion of Francis Alÿs's percussive alliteration of fence palings in relation to Eacute;douard Manet's La Gare St. Lazare, in ‘Days of Reading: Letters between Wystan Curnow and Allan Smith’, Reading Room, no. 5 (2012): 6–47.
- Robert Smithson in Nancy Holt, The Writings of Robert Smithson, 74.
- Gilles Deleuze, Essays Critical and Clinical, trans. Daniel W. Smith and Michael A. Greco (Minneapolis: University of Minnesota Press, 1997), 109.
- Ibid., 30.
- Ibid., 12.
- Robert Smithson in Nancy Holt, The Writings of Robert Smithson, 49.
- Per Kirkeby, Selected Essays From Bravura, trans. Peter Shield (Eindhoven: Van Abbemuseum, 1982), 78.
- Per Kirkeby, Natural History and Evolution, trans. Peter Shield (The Hague: Gemeentemuseum, 1991), 206.
- Ibid., 40, 41.
- Per Kirkeby, Selected Essays from Bravura, 113.
- Lars Morell, The Artist as Polyhistor: ‘The Intellectual Superstructure’ in the Work of Per Kirkeby, trans. Heidi Flegal (Aarhus: Aarhus University Press, 2005), 282.
- Per Kirkeby, Natural History and Evolution, 28.
- Erik Poul Tøjner compares Turner's Grisons painting to Kirkeby's Untitled (1997, PK 837). The even distribution of colliding rocks in the Kirkeby painting relates to the Black Diamond mural he completed the following year. See Erik Poul Tøjner, Per Kirkeby Painting (Copenhagen: Bjerggaard, 2003), 72.
- Robert Smithson in Nancy Holt, The Writings of Robert Smithson, 177.
- John Ruskin, Deucalion, 64; ‘Lecture 6: Crystal Quarrels’, The Ethics of the Dust, http://en.wikisource.org/wiki/The_Ethics_of_the_Dust/Lecture_6.
- John Ruskin, Modern Painters, vol. 4, 31.
- See Gary D. Rosenberg, The Revolution in Geology from the Renaissance to the Enlightenment (Boulder, CO: Geological Society of America, 2009), 194.
- See Kirkeby's drawing that matches geological profile to brick buttress, in Lars Morell, The Stone House (Cologne: Walther König, 2006), 12.
- This dualism of physical versus digital is, in part, analogous to Ruskin's primary dualism of ‘mere’ material (or material ‘only’) versus truth and Smithson's duality of mind and matter. See Ruskin questioning the difference between the sea as a mentor and friend and as salt water only, as quoted by Per Kirkeby in Richard Shiff, ‘It Doesn't Reveal Itself’, Per Kirkeby, 45. Ruskin makes this comparison in an 1847 letter to the Rev. W.L. Brown; see The Complete Works of John Ruskin, Library Edition, ed. E.T. Cook and Alexander Wedderburn (Cambridge: Cambridge University Press, 2009), 83; this ascription of loss echoes a diary entry of 1849, in which Ruskin expresses regret for how a solely analytical ‘investigation of strata and structure reduces all mountain sublimity to mere detritus and wall building, so that one looks on a great mountain only as a group of beds’, The Diaries of John Ruskin 1848–1873, 416.
- Per Kirkeby, Natural History and Evolution, 37.
- See Per Kirkeby, ‘Briques’, in Manuel, trans. Ines Jorgensen (Paris: Paris Musées, 1998), 45, 46.
- Per Kirkeby, quoted in Ulrich Wilmes, ‘Pulsating like an Accordion: Per Kirkeby's Brick Sculptures’, in Siegfried Gohr et al., Per Kirkeby and the ‘Forbidden Paintings’ of Kurt Schwitters (Brussels: BOZAR, 2012), 159.
- Lars Morell, The Artist as Polyhistor, 116.
- John Ruskin, Deucalion, 101.
- Robert Smithson in Nancy Holt, The Writings of Robert Smithson, 87.
- Per Kirkeby, Natural History and Evolution, 13.
Australian and New Zealand Journal of Art
Volume 12, 2012 - Issue 1