![]() ![]() ![]() However, some of his basic aesthetic concerns, as I hope to show on the example of Smithson, were of equal importance to the avant-garde artists working in America in the 60s and 70s. ![]() I do not want to suggest that Williams is essentially a postmodern writer – this would be an obvious overstatement. Both the aesthetics and the theoretical quandaries Smithson’s work hints at, have a lot in common with what Williams was doing in the late ‘teens and early twenties of the twentieth century, coining a radically new style for himself, and simultaneously engaging meta-poetic questions in his essays, his book of improvisations, Kora in Hell, as well as in the prose passages included in the first edition of his famous volume of poetry Spring and All. I believe, however, that his Hotel Palenque may serve as an excellent introduction to Williams’s work, and vice versa – that the tensions inherent in Williams’s poetics of the “glimpse” (as Kenneth Burke called it) may help bring into focus the ambiguities of Smithson’s project. the early poetry of William Carlos Williams: 1917-1923) may seem somewhat odd considering that Smithson was a postmodern visual artist, and not a modernist poet. The interpretive context in which I intend to place Smithson’s work (i.e. In this essay I would like to consider a slidework project by Robert Smithson entitled Hotel Palenque, undertaken in 1969 during the artist’s visit to Mexico, and presented to an audience at Kent State University three years later. ![]()
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