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Mono Lake
Nancy Holt and Robert Smithson
1968-2004, 19:54 min, color, sound
More Info
Description
Ordering & Fees
Exhibition & Distribution Conditions
Listen to Artist Introduce Mono Lake
Images
Documents
Artists
+
Nancy Holt
Robert Smithson
Description
Ordering & Fees
Exhibition & Distribution Conditions
Listen to Artist Introduce Mono Lake
Images
Documents
Artists
+
Nancy Holt
Robert Smithson
Mono Lake
Nancy Holt and Robert Smithson
1968-2004, 19:54 min, color, sound
Images
NANCY HOLT: Daylong Tribute Screening at EAI
Event Documentation: Image
Images from NANCY HOLT: Daylong Tribute Screening at EAI
![/user_files/supporting_documents/thumb_holt_middayleft.jpg](/user_files/supporting_documents/thumb_holt_middayleft.jpg "{
\"title_id\": 11669,
\"slug\": \"mono-lake\",
\"title\": \"Mono Lake\",
\"subtitle\": null,
\"title_translation\": null,
\"alternate_title\": null,
\"completion_date\": \"1968-2004\",
\"media_type_id\": null,
\"running_time\": \"19:54 min\",
\"color\": \"color\",
\"sound\": \"sound\",
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\"short_desc\": \"Featuring Super 8 film footage and Instamatic slide images of artists Robert Smithson, Michael Heizer and Nancy Holt as they visited California's Mono Lake in July of 1968, this piece was edited by Holt in 2004. <i>Mono Lake<\/i> is a document of a unique natural environment, a candid \\"home movie\\" of the artists' 1968 road trip, and an intimate view of three seminal figures in the earth art movement as they interact with the Western landscapes that are so central to their work.\",
\"long_desc\": \"Featuring Super 8 film footage and Instamatic slide images of artists <a href=\\"artistTitles.htm?id=10961\\"><strong>Robert Smithson<\/strong><\/a>, Michael Heizer and <a href=\\"artistTitles.htm?id=10960\\"><strong>Nancy Holt<\/strong><\/a> as they visited California's Mono Lake in July of 1968, this piece was edited by Holt in 2004. <i>Mono Lake<\/i> candidly captures the young artists as they explore the haunting landscape of one of the oldest and most distinctive lakes in North America. Heizer and Smithson are heard reading facts about the unique ecology, geology and natural phenomena of this alkaline lake. The voiceovers are set against filmed images and snapshots of the artists within the uncanny beauty of the lake's environment. Smithson is shown collecting cinders from the volcanic hills on the lake's shores, which were used to make his 1968 sculpture \\"Mono Lake Nonsite.\\" \r\n\r\n<i>Mono Lake<\/i> is a document of a unique natural environment, a \\"home movie\\" of the artists' 1968 road trip, and an intimate view of three seminal figures in the earth art movement as they interact with the Western landscapes that are so central to their work.\r\n\r\nThe following text, which appears on-screen, provides further background on the recording and editing of the piece: \\"<I>Mono Lake<\/I> was shot in 1968 on Super 8 film and Instamatic slides, which were later transferred to video. Smithson selected the readings and the music by Michel Legrand for the early, unedited soundtrack, which was recorded close to the time of the filming. The two country and western songs were sung by Waylon Jennings at a performance in Las Vegas attended by Heizer, Holt and Smithson in the week before the trip to Mono Lake, California... Holt and Smithson originally planned to edit <I>Mono Lake<\/I> together. The project was subsequently put aside until 2004, when it was edited by Holt for the Robert Smithson Retrospective at the Museum of Contemporary Art in Los Angeles.\\"\",
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\"distribution_terms_and_usage\": \"Update per RC - May 23, 2017: All requests for works by Holt and\/or Smithson should include contact with Matthew Coolidge, coolidgematthew@gmail.com; and Diane Karp, Diane.karp@gmail.com (head trustees per Elyse Goldberg), as well as DeeDee Halleck, deedeehalleck@gmail.com, and Elyse Goldberg of the Smithson Estate, smithsonestate@jamescohan.com\r\n\r\nPer email from Robert Panzer at VAGA:\r\n\r\nOn 2\/12\/15 12:09 PM, \\"Robert Panzer\\" <rpanzer@vagarights.com> wrote:\r\nH Rebecca,\r\n \r\nI hope you are well. \r\n \r\nTo make things simple, VAGA does not need to be involved with any reproductions of the Holt or Smithson films, including the use of stills from the films. I think this will make things easier for everyone. Of course, if a requestor also indicates that they are looking to reproduce non-film works by the artists, we would appreciate your referring them to us.\r\n \r\nBest regards,\r\n \r\nBob\r\n \r\n \r\nRobert Panzer\r\nExecutive Director\r\nVAGA \r\n111 Broadway\r\nSuite 1006\r\nNew York, NY 10006\r\n212 736 6666\r\nfx 212 736 6767\r\nwww.vagarights.com <http:\/\/www.vagarights.com> <http:\/\/www.vagarights.com\/> \r\n\r\n\r\n\r\nOLD NOTES\r\n\r\nIn addition to Nancy Holt, Elyse Goldberg, Director of the Estate of Robert Smithson for James Cohan Gallery, must be notified of all non-educational acquisitions, screenings and exhibition loans. Notifications should be sent by email, listing the name of the institution, curator, show title, and date to Elyse at: smithsonestate@jamescohan.com (RC, 6\/18\/08)\r\n<br><br>\r\nThe Smithson Estate does not want foreign translations provided in print. The transcript should never appear in print. (This makes sense, since you wouldn't be able to read it in the darkened cinema setting, anyway.) Nor can there be subtitles super-imposed onto the image. However, translation can be provided as audio, either as separate headphones or over-dubbed.\",
\"published\": 1,
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\"date_created\": \"2006-05-24T12:37:00-04:00\",
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{
\"artist_id\": 10960,
\"slug\": \"nancy-holt\",
\"first_name\": \"Nancy\",
\"last_name\": \"Holt\",
\"alternate_name\": null,
\"link_title\": \"Nancy Holt\",
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\"sex\": \"Female\",
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\"short_bio\": \"A pioneer of earthworks and public art, Nancy Holt also worked in sculpture, installation, film, video, and photography for over three decades. She is best known for her large-scale environmental sculptural works, including <i>Sun Tunnels<\/i> in Utah and <i>Dark Star Park<\/i> in Virginia. In the late 1960s and early 1970s, Holt made a series of pioneering film and video works, including several collaborations with <a href=\\"artistTitles.htm?id=10961\\"><strong>Robert Smithson<\/strong><\/a>. Holt's early videos explore perception and memory through experiments with point of view and process.\",
\"long_bio\": \"A pioneer of earthworks and public art, Nancy Holt also worked in sculpture, installation, film, video, and photography for over three decades. She is best known for her large-scale environmental sculptural works, including <i>Sun Tunnels<\/i> in northern Utah and <i>Dark Star Park<\/i> in Arlington, Virginia. In the 1970s, Holt made a series of pioneering film and video works, including several collaborations with <a href=\\"artistTitles.htm?id=10961\\"><strong>Robert Smithson<\/strong><\/a>. Holt's early videos, which are among the most iconic works in the medium, explore perception and memory through experiments with point of view and process.\r\n\r\nHolt received a Bachelors degree in Biology from Tufts University, Medford, Massachusetts, in 1960. She received five National Endowment for the Arts Fellowships, two New York Creative Artist Fellowships, a Guggenheim Fellowship, and an Honorary Doctorate from the University of South Florida, Tampa. She produced site-specific environmental works in numerous public places around the world, including <i>Sun Tunnels<\/i> (1976), a large-scale sculptural work in Great Basin Desert, Utah; <i>Stone Enclosure (Rock Rings)<\/i> in Bellingham, Washington; <i>Astral Grating<\/i> (1987) in a New York City subway station, and Dark Star Park, in Arlington, Virginia, among many others. She also completed large-scale land reclamation projects, including <i>Sky Mound<\/i> (1988) in the New Jersey Meadowlands, and <i>Up and Under<\/i> (1998), in Nokia, Finland. Holt's works, including her films and videos, have been seen in exhibitions at the John Weber Gallery, New York; The New Museum of Contemporary Art, New York; The Whitney Museum of American Art, New York; The Museum of Modern Art, New York; Dia Center for the Arts, New York, and P.S.1 Contemporary Art Center, New York. The solo exhibition <em>Nancy Holt: Photoworks<\/em> was presented at Haunch of Venison, London, in 2012. \r\n\r\nThe retrospective exhibition <em>Nancy Holt: Sightlines<\/em> originated at Columbia University's Miriam and Ira D. Wallach Art Gallery in New York, in 2010. <em>Sightlines<\/em> traveled to Badischer Kunstverein in Karlsruhe, Germany; Graham Foundation for Advanced Studies in the Fine Arts, Chicago, IL; Tufts University Art Gallery at the Aidekman Arts Center, Medford, MA; Santa Fe Arts Institute, Santa Fe, NM, and Utah Museum of Fine Arts at the University of Utah, Salt Lake City, UT. The exhibition was accompanied by a monograph of the same name, edited by Alena J. Williams,<em> Sightlines<\/em> curator. \r\n\r\nNancy Holt was born in Worcester, Massachusetts in 1938 and lived in Galisteo, New Mexico. She died in 2014.\r\n\r\nIn 2017, the <a href=\\" http:\/\/holtsmithsonfoundation.org\\"><u>Holt-Smithson Foundation<\/a><\/u> was formed to continue the creative and investigative spirit of the artists Nancy Holt and Robert Smithson.\",
\"bibliography\": \"Holt, Nancy. \\"Sun Tunnels, Annual Ring and Sky Mound.\\" <u>Sculpting with the Environment<\/u>. Reinold, NY: Van Nostrand, 1995.<br>\r\n<br>\r\nHolt, Nancy. \\"Sun Tunnels.\\" <u>Artforum<\/u>. April 1977. (cover article)<br>\r\n<br>\r\nHolt, Nancy. \\"Pine Barrens.\\" <u>Avalanche<\/u>. Summer 1975. <br>\r\n<br>\r\nJones, Bill. \\"Cineprobe: An Evening with Nancy Holt at the Museum of Modern Art.\\" <u>The Independent<\/u> May 1979.<br>\r\n<br>\r\nMeyer, James. \\"Another Minimalism,\\" <u>A Minimal Future? Art as Object 1958-68<\/u>. Los Angeles: Museum of Contemporary Art, 2004: 32-37.<br>\r\n<br>\r\nMarter, Joan. \\"Nancy Holt?s Dark Star Park.\\" <u>Arts<\/u>. October 1984.<br>\r\n<br>\r\nPeters, Robert, Ed. \\"Three Decades of Public Art.\\" Excerpts from a lecture by Nancy Holt. <u>MASS: Contemporary Arts in the Public Realm<\/u>. Journal of the School of Architecture and Planning, Robert Peters, Ed. University of New Mexico, Vol. 13, Fall 2004: 12-19.\",
\"documents\": null,
\"see_also\": \"<strong><a href=\\"http:\/\/www.eai.org\/eai\/artist.jsp?artistID=10961\\">Robert Smithson<\/a><\/strong>\",
\"url\": null,
\"notes\": \"\\"In terms of images for promotion of screenings (EAI\/JP note: and exhibitions): we are super-happy to do this directly. We like to have eyes on everything to make sure the image credits are correct as often organizations make up the credits rather that getting them right \u2013 it always is unfathomable to me why this happens, but it does.\\" \u2014 Lisa Le Feuvre to JP on May 23, 2024\r\n\r\nUpdate per RC - May 23, 2017: \r\n\r\nAll requests for works by Holt and\/or Smithson should include contact with Matthew Coolidge, coolidgematthew@gmail.com; and Diane Karp, Diane.karp@gmail.com (head trustees per Elyse Goldberg), and DeeDee Halleck, deedeehalleck@gmail.com.\r\n\r\nDoug Dreishpoon is no longer involved.\r\n\r\nElyse Goldberg at James Cohan Gallery should be included for any inquiries related to Robert Smithson.\r\n\r\nPer email from Robert Panzer at VAGA:\r\n\r\nOn 2\/12\/15 12:09 PM, \\"Robert Panzer\\" <rpanzer@vagarights.com> wrote:\r\nH Rebecca,\r\n \r\nI hope you are well. \r\n \r\nTo make things simple, VAGA does not need to be involved with any reproductions of the Holt or Smithson films, including the use of stills from the films. I think this will make things easier for everyone. Of course, if a requestor also indicates that they are looking to reproduce non-film works by the artists, we would appreciate your referring them to us.\r\n \r\nBest regards,\r\n \r\nBob\r\n \r\n \r\nRobert Panzer\r\nExecutive Director\r\nVAGA \r\n111 Broadway\r\nSuite 1006\r\nNew York, NY 10006\r\n212 736 6666\r\nfx 212 736 6767\r\nwww.vagarights.com <http:\/\/www.vagarights.com> <http:\/\/www.vagarights.com\/>\r\n\r\nPer email from Robert Panzer at VAGA:\r\n\r\nOn 2\/12\/15 12:09 PM, \\"Robert Panzer\\" <rpanzer@vagarights.com> wrote:\r\nH Rebecca,\r\n \r\nI hope you are well. \r\n \r\nTo make things simple, VAGA does not need to be involved with any reproductions of the Holt or Smithson films, including the use of stills from the films. I think this will make things easier for everyone. Of course, if a requestor also indicates that they are looking to reproduce non-film works by the artists, we would appreciate your referring them to us.\r\n \r\nBest regards,\r\n \r\nBob\r\n \r\n \r\nRobert Panzer\r\nExecutive Director\r\nVAGA \r\n111 Broadway\r\nSuite 1006\r\nNew York, NY 10006\r\n212 736 6666\r\nfx 212 736 6767\r\nwww.vagarights.com <http:\/\/www.vagarights.com> <http:\/\/www.vagarights.com\/> \r\n\r\n\r\n\r\n(Old Note)\r\nImage requests require an additional copyright from:\r\nVisual Artists and Galleries Association, Inc. (VAGA). \r\nTelephone: (212) 736-6666. Fax: (212) 736-6767. \r\nAddress: 350 Fifth Avenue, Suite 2820, New York, NY 10118 \r\nE-mail: info@vagarights.com\r\nBoomerang is available (for ditribution..?) through MoMA. AA 7\/23\/09\r\n\r\n(old note)\r\nPlease write to Jane Perry and alert her of any archival sales. She worked with Nancy. Email Jane a PDF copy of the invoice \\"EAI copy\\". jperry@nancyholt.org (3\/21\/14-NL) \r\n<br><br>\",
\"royalty_notes\": \"\",
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\"birth_place\": \"Passaic, New Jersey\",
\"death_year\": \"1973\",
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{
\"title_id\": 11993,
\"slug\": \"floating-island-to-travel-around-manhattan-island\",
\"title\": \"Floating Island to Travel Around Manhattan Island\",
\"subtitle\": \"\",
\"title_translation\": null,
\"alternate_title\": \"\",
\"completion_date\": \"2005\",
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\"short_desc\": \"<i>Floating Island to Travel Around Manhattan Island<\/i> (1970-2005) is a project by Robert Smithson that was realized posthumously. Produced by Minetta Brook in collaboration with the Whitney Museum of American Art, <i>Floating Island<\/i> features a barge landscaped with earth, trees, shrubs and rocks: a \\"non-site\\" of Central Park. Towed by a tugboat, this fabricated \\"island\\" circled the island of Manhattan for a week in September of 2005. This video documents the evolution and realization of this project.\",
\"long_desc\": \"<i>Floating Island to Travel Around Manhattan Island<\/i> (1970-2005) is a project by Robert Smithson that was realized posthumously. Produced by Minetta Brook in collaboration with the Whitney Museum of American Art, <i>Floating Island<\/i> features a barge landscaped with earth, trees, shrubs and rocks: a \\"non-site\\" of Central Park. Towed by a tugboat, this fabricated \\"island\\" circled the island of Manhattan for a week in September of 2005. This video documents the evolution and realization of this project.\r\n\r\n\\"Smithson developed the concept for <i>Floating Island<\/i> in 1970 — the same year he created his best-known work, the ambitious earthwork <i>Spiral Jetty<\/i> at Utah's Great Salt Lake — but efforts by Smithson to realize the project in the early 1970s were unsuccessful. Likely an homage to Frederick Law Olmsted's design of Central Park, <i>Floating Island<\/i> offered a displacement of Central Park, itself a man-made creation, from its natural habitat. When the barge made its trip around the island of Manhattan, New Yorkers had a chance to see a re-imagined fragment of their island floating by.\\" — Minetta Brook\",
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\"distribution_terms_and_usage\": \"Per conversation with RC, a Holt\/Smithson Foundation is in formation - with Doug Dreishpoon taking the role of (Executive Director?). He should be contacted in advance for any screening, exhibitions, or purchases for Holt or Smithson titles. In addition, Tom Martinelli should be cc'd on all inquiries.\r\n\r\nElyse Goldberg at James Cohan Gallery should be included for any inquiries related to Robert Smithson.\r\n\r\nPer email from Robert Panzer at VAGA:\r\n\r\nOn 2\/12\/15 12:09 PM, \\"Robert Panzer\\" <rpanzer@vagarights.com> wrote:\r\nH Rebecca,\r\n \r\nI hope you are well. \r\n \r\nTo make things simple, VAGA does not need to be involved with any reproductions of the Holt or Smithson films, including the use of stills from the films. I think this will make things easier for everyone. Of course, if a requestor also indicates that they are looking to reproduce non-film works by the artists, we would appreciate your referring them to us.\r\n \r\nBest regards,\r\n \r\nBob\r\n \r\n \r\nRobert Panzer\r\nExecutive Director\r\nVAGA \r\n111 Broadway\r\nSuite 1006\r\nNew York, NY 10006\r\n212 736 6666\r\nfx 212 736 6767\r\nwww.vagarights.com <http:\/\/www.vagarights.com> <http:\/\/www.vagarights.com\/> \r\n\r\nOLD NOTES\r\n\r\nIn addition to Nancy Holt, Elyse Goldberg, Director of the Estate of Robert Smithson for James Cohan Gallery, must be notified of all non-educational acquisitions, screenings and exhibition loans. Notifications should be sent by email, listing the name of the institution, curator, show title, and date to Elyse at: smithsonestate@jamescohan.com (RC, 6\/18\/08)\r\n<br><br>\r\nThe Smithson Estate does not want foreign translations provided in print. The transcript should never appear in print. (This makes sense, since you wouldn't be able to read it in the darkened cinema setting, anyway.) Nor can there be subtitles super-imposed onto the image. However, translation can be provided as audio, either as separate headphones or over-dubbed.\",
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\"title_id\": 10997,
\"slug\": \"rundown\",
\"title\": \"Rundown\",
\"subtitle\": null,
\"title_translation\": null,
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\"completion_date\": \"1994\",
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\"running_time\": \"12 min\",
\"color\": \"color\",
\"sound\": \"sound\",
\"by_credit\": \"Jane Crawford and Robert Fiore\",
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\"short_desc\": \"This short documentary presents an overview of those works by Robert Smithson that involved the pouring of viscous substances such as glue, asphalt and cement. A voiceover commentary by the artist helps explain some of his specific concerns in making these works, as well as elucidating his more general interests in entropy, geologic time, anti-form, the use of industrial materials, and the positioning of the artwork in the land as opposed to the gallery.\",
\"long_desc\": \"This short documentary presents an overview of those works by Robert Smithson that involved the pouring of viscous substances such as glue, asphalt and cement. A voiceover commentary by the artist helps explain some of his specific concerns in making these works, as well as elucidating his more general interests in entropy, geologic time, anti-form, the use of industrial materials, and the positioning of the artwork in the land as opposed to the gallery.\",
\"unique_id\": \"2327\",
\"extent\": null,
\"distribution_terms_and_usage\": \"Per conversation with RC, a Holt\/Smithson Foundation is in formation - with Doug Dreishpoon taking the role of (Executive Director?). He should be contacted in advance for any screening, exhibitions, or purchases for Holt or Smithson titles. In addition, Tom Martinelli should be cc'd on all inquiries.\r\n\r\nElyse Goldberg at James Cohan Gallery should be included for any inquiries related to Robert Smithson.\r\n\r\nPer email from Robert Panzer at VAGA:\r\n\r\nOn 2\/12\/15 12:09 PM, \\"Robert Panzer\\" <rpanzer@vagarights.com> wrote:\r\nH Rebecca,\r\n \r\nI hope you are well. \r\n \r\nTo make things simple, VAGA does not need to be involved with any reproductions of the Holt or Smithson films, including the use of stills from the films. I think this will make things easier for everyone. Of course, if a requestor also indicates that they are looking to reproduce non-film works by the artists, we would appreciate your referring them to us.\r\n \r\nBest regards,\r\n \r\nBob\r\n \r\n \r\nRobert Panzer\r\nExecutive Director\r\nVAGA \r\n111 Broadway\r\nSuite 1006\r\nNew York, NY 10006\r\n212 736 6666\r\nfx 212 736 6767\r\nwww.vagarights.com <http:\/\/www.vagarights.com> <http:\/\/www.vagarights.com\/> \r\n\r\n\r\n(No need to notify Jane and Robert.)\r\n\r\nOLD NOTES\r\n\r\nIn addition to Nancy Holt, Elyse Goldberg, Director of the Estate of Robert Smithson for James Cohan Gallery, must be notified of all non-educational acquisitions, screenings and exhibition loans. Notifications should be sent by email, listing the name of the institution, curator, show title, and date to Elyse at: smithsonestate@jamescohan.com (RC, 6\/18\/08)\r\n<br><br>\r\nThe Smithson Estate does not want foreign translations provided in print. The transcript should never appear in print. (This makes sense, since you wouldn't be able to read it in the darkened cinema setting, anyway.) Nor can there be subtitles super-imposed onto the image. However, translation can be provided as audio, either as separate headphones or over-dubbed.\",
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\"title_id\": 10995,
\"slug\": \"sheds\",
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\"short_desc\": \"Produced for the 2004 Robert Smithson retrospective at the Museum of Contemporary Art, Los Angeles, <i>Sheds<\/i> features newly compiled footage of two of the artist's key works: <i>Partially Buried Woodshed<\/i> and <i>Mica Spread<\/i>.\",
\"long_desc\": \"Produced for the 2004 Robert Smithson retrospective at the Museum of Contemporary Art, Los Angeles, <i>Sheds<\/i> features newly compiled footage of two of the artist's key works: <i>Partially Buried Woodshed<\/i> and <i>Mica Spread<\/i>.\r\n<br><br>\r\n<i>Partially Buried Woodshed<\/i>, one of Smithson's iconic works, was executed at Kent State University in Ohio in January 1970. The piece was created by partially burying an empty shed under mounds of dirt with a backhoe until the shed's roof beam collapsed. The physical structure has long since been degraded by weather, vandalism and neglect; it has \\"gone back to the land,\\" as the artist expected. However, the infamous Kent State shootings in May of 1970, in which National Guardsmen opened fire on students protesting the Vietnam War, killing four of them, has lent Smithson's entropic monument a peculiar historical resonance as a metaphorical locus of the forces and conflicts of its era.<br><br>\r\nSmithson made <i>Partially Buried Woodshed<\/i> as part of a Creative Arts Festival. Other participants included Allan Kaprow, John Ashberry, Morton Subotnick, John Vacarro and the Louise Falco Dance Compagny. The site of <i>Partially Buried Woodshed<\/i>, off Summit Street on the Kent State University campus in Kent Ohio, is located near the new Liquid Crystal Materials Science building.\r\n<br><br>\r\n<i>Mica Spread<\/i> was made at Rozel Point on the edge of Great Salt Lake, Utah, in April 1970, near the Spiral Jetty.\",
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\"distribution_terms_and_usage\": \"Per conversation with RC, a Holt\/Smithson Foundation is in formation - with Doug Dreishpoon taking the role of (Executive Director?). He should be contacted in advance for any screening, exhibitions, or purchases for Holt or Smithson titles. In addition, Tom Martinelli should be cc'd on all inquiries.\r\n\r\nElyse Goldberg at James Cohan Gallery should be included for any inquiries related to Robert Smithson.\r\n\r\nPer email from Robert Panzer at VAGA:\r\n\r\nOn 2\/12\/15 12:09 PM, \\"Robert Panzer\\" <rpanzer@vagarights.com> wrote:\r\nH Rebecca,\r\n \r\nI hope you are well. \r\n \r\nTo make things simple, VAGA does not need to be involved with any reproductions of the Holt or Smithson films, including the use of stills from the films. I think this will make things easier for everyone. Of course, if a requestor also indicates that they are looking to reproduce non-film works by the artists, we would appreciate your referring them to us.\r\n \r\nBest regards,\r\n \r\nBob\r\n \r\n \r\nRobert Panzer\r\nExecutive Director\r\nVAGA \r\n111 Broadway\r\nSuite 1006\r\nNew York, NY 10006\r\n212 736 6666\r\nfx 212 736 6767\r\nwww.vagarights.com <http:\/\/www.vagarights.com> <http:\/\/www.vagarights.com\/> \r\n\r\n\r\n\r\n(No need to notify Jane and Robert.)\r\n\r\nOLD NOTES\r\n\r\nIn addition to Nancy Holt, Elyse Goldberg, Director of the Estate of Robert Smithson for James Cohan Gallery, must be notified of all non-educational acquisitions, screenings and exhibition loans. Notifications should be sent by email, listing the name of the institution, curator, show title, and date to Elyse at: smithsonestate@jamescohan.com (RC, 6\/18\/08)\r\n<br><br>\r\nThe Smithson Estate does not want foreign translations provided in print. The transcript should never appear in print. (This makes sense, since you wouldn't be able to read it in the darkened cinema setting, anyway.) Nor can there be subtitles super-imposed onto the image. However, translation can be provided as audio, either as separate headphones or over-dubbed.\",
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\"short_bio\": \"Robert Smithson is recognized as one of the most influential artists of the twentieth century. Smithson, who was born in 1938 and died in 1973, was a seminal figure in the art form that became known as earthworks or land art. He radically redefined notions of sculpture through his writings and projects. Among his most important and well-known works are <i>Spiral Jetty<\/i> (1970), a monumental earthwork located in the Great Salt Lake, Utah, and <i>Partially Buried Woodshed<\/i> (1970) at Kent State University in Ohio. Smithson's critical writings have had an equally profound impact on contemporary art and theory.\",
\"long_bio\": \"Robert Smithson is recognized as one of the most influential artists of the twentieth century. Smithson was a seminal figure in the art form that became known as earthworks or land art. He radically redefined notions of sculpture through his writings and projects. Among his most important and well-known works are <i>Spiral Jetty<\/i> (1970), a monumental earthwork located in the Great Salt Lake, Utah, and <i>Partially Buried Woodshed<\/i> (1970) at Kent State University in Ohio. Smithson's critical writings have had an equally profound impact on contemporary art and theory.\r\n\r\nRobert Smithson was born in Passaic, New Jersey in 1938, and died in 1973.\r\n\r\nIn 2017, the <a href=\\" http:\/\/holtsmithsonfoundation.org\\"><u>Holt-Smithson Foundation<\/a><\/u> was formed to continue the creative and investigative spirit of the artists Nancy Holt and Robert Smithson.\",
\"bibliography\": \"Smithson, Robert. <u>The Collected Writings<\/u>. Ed. Jack Flam. Berkeley: University of California Press, 1996. Texts by Robert Smithson, and interviews with Liza Bear, Paul Cummings, Bruce Kurtz, Thomas W. Leavitt, William C. Lipke, Patsy Norvell, Gregoire M\u00fcller, Gianni Pettena, Eva Schmidt, Anthony Robbin, Moira Roth, Alison Sky, Paul Toner, and Dennis Wheeler.<br>\r\n<br>\r\nHobbs, Robert, ed. <u>Robert Smithson: Sculpture<\/u>. Ithaca and London: Cornell University Press, 1981. Texts by Lawrence Alloway, John Coplans, Lucy R. Lippard.<br>\r\n<br>\r\nBoettger, Suzaan, ed. \\"'Robert Smithson,' interview by Willoughby Sharp (1969).\\" <u>Art in America<\/u>, December 1998, pp. 75-81.<br>\r\n<br>\r\nTsai, Eugenie with Cornelia Butler. <u>Robert Smithson<\/u>. Los Angeles: The Museum of Contemporary Art, 2004. Texts by Thomas Crow, Alexander Alberro, Suzaan Boettger, Mark Linder, Ann Reynolds, Jennifer L. Roberts, Richard Sieburth, Robert A. Sobieszek and Moira Roth.<br>\r\n<br>\r\nCooke, Lynne and Karen Kelly, ed. <u>Robert Smithson: Spiral Jetty<\/u>. California: University of California Press; New York: Dia Art Foundation, 2005. Texts by George Baker, Bettina Funcke, Ann Reynolds and Lytle Shaw.<br>\r\n<br>\r\n<u>Robert Smithson Retrospective: Works 1955-1973<\/u>. Oslo: National Museum of Contemporary Art, in association with Moderna Museet, Stockholm, and Arken Museum of Modern Art, Ish\u00f8j, 1999. Texts by Per Boym, Stian Gr\u00f8gaard, Tim Martin, Anette \u00f8sterby, and Vibeke Petersen.\",
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\"see_also\": \"<strong><a href=\\"http:\/\/www.eai.org\/eai\/artist.jsp?artistID=10960\\">Nancy Holt<\/a><\/strong>\",
\"url\": \"<strong><a href=\\"http:\/\/www.robertsmithson.com\/introduction\/introduction.htm\\" target=\\"_new\\">www.robertsmithson.com\/introduction\/introduction.htm<\/a><\/strong>\",
\"notes\": \"Artist deceased. See appropriate note fields for royalty and other contact information.\r\n<br><br>\r\nPer conversation with RC, a Holt\/Smithson Foundation is in formation - with Doug Dreishpoon taking the role of Curatorial Advisor. He should be contacted in advance for any screening, exhibitions, or purchases for Holt or Smithson titles. In addition, Tom Martinelli (martinelli.tom@gmail.com) should be cc'd on all inquiries.<br>\r\ndreishpoon@gmail.com\r\n\r\nElyse Goldberg at James Cohan Gallery should be included for any inquiries related to Robert Smithson. She responds to emails sent to smithsonestate@jamescohan.com\r\n\r\nPer email from Robert Panzer at VAGA:\r\n\r\nOn 2\/12\/15 12:09 PM, \\"Robert Panzer\\" <rpanzer@vagarights.com> wrote:\r\nH Rebecca,\r\n \r\nI hope you are well. \r\n \r\nTo make things simple, VAGA does not need to be involved with any reproductions of the Holt or Smithson films, including the use of stills from the films. I think this will make things easier for everyone. Of course, if a requestor also indicates that they are looking to reproduce non-film works by the artists, we would appreciate your referring them to us.\r\n \r\nBest regards,\r\n \r\nBob\r\n \r\n \r\nRobert Panzer\r\nExecutive Director\r\nVAGA \r\n111 Broadway\r\nSuite 1006\r\nNew York, NY 10006\r\n212 736 6666\r\nfx 212 736 6767\r\nwww.vagarights.com <http:\/\/www.vagarights.com> <http:\/\/www.vagarights.com\/> \r\n\r\n\r\nOLD NOTES\r\n\r\nIn addition to Nancy Holt, Elyse Goldberg, Director of the Estate of Robert Smithson for James Cohan Gallery, must be notified of all non-educational acquisitions, screenings and exhibition loans. Notifications should be sent by email, listing the name of the institution, curator, show title, and date to Elyse at: smithsonestate@jamescohan.com (RC, 6\/18\/08)\r\n<br><br>\r\nThe Smithson Estate does not want foreign translations provided in print. The transcript should never appear in print. (This makes sense, since you wouldn't be able to read it in the darkened cinema setting, anyway.) Nor can there be subtitles super-imposed onto the image. However, translation can be provided as audio, either as separate headphones or over-dubbed.\r\n<br><br>\r\nPlease write to Jane Perry and alert her of any archival sales. She worked with Nancy. Email Jane a PDF copy of the invoice \\"EAI copy\\". jperry@nancyholt.org (3\/21\/14-NL)\r\n<br><br>\r\nPreviously, Image requests required an additional copyright from:<br>\r\nVisual Artists and Galleries Association, Inc. (VAGA). <br>\r\nTelephone: (212) 736-6666. Fax: (212) 736-6767. <br>\r\nAddress: 350 Fifth Avenue, Suite 2820, New York, NY 10118 <br>\r\nE-mail: info@vagarights.com<br>As of email from VAGA Exec.Dir. Robert Panzer 2\/13\/15, NO LONGER NECESSARY TO CONTACT VAGA FOR FILM\/VIDEO STILSS. (-nl)\",
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\"credits\": \"Robert Smithson, with Michael Heizer and Nancy Holt, caught on film July 27, 1968. Camera: Michael Heizer, Nancy Holt, Robert Smithson. Soundtrack Readings: Michael Heizer, Robert Smithson. Producer\/Editor: Nancy Holt. Music by Michel Legrand from the soundtrack of the film \\"Bay of Angels\\" by Jacques Demy, Cine-Tamaris, 1963. Songs by Waylon Jennings: \\"Walk on Out of My Mind,\\" (RCA Victor, 1967); \\"Stop the World (and Let Me Off),\\" (RCA Victor, 1965). Readings from the booklet \\"Rock Hounding Out of Bishop\\" written by Cora B. Houghtaling, Chalfont Press, Bishop, CA, 1967. A Holt\/Smithson Video.\",
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\"title\": \"<strong>NANCY HOLT<br\/><br\/> Daylong Tribute Screening at EAI<\/strong>\",
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\"html\": \"<html>\r\n<head>\r\n<title>Nancy Holt @ EAI<\/title>\r\n<meta http-equiv=\\"Content-Type\\" content=\\"text\/html; charset=iso-8859-1\\" \/>\r\n<style type=\\"text\/css\\">\r\nt.left {}\r\nh.red {font-family:Helvetica, Arial, Verdana, sans-serif; font-weight:bold; color:#990000}\r\np.two {line-height:200%;}\r\np.onefive {font-family:Verdana, Arial, Helvetica, sans-serif; font-size:10px; line-height:200%; color:#000000}\r\np.normalbold {font-family:Verdana, Arial, Helvetica, sans-serif; font-size:11px; line-height:150%; color:#000000; margin-top:0; border:0}\r\np.twelvebold {font-family:Verdana, Arial, Helvetica, sans-serif; font-size:12px; line-height:150%; color:#000000; margin-top:0; border:0}\r\np.normal {font-family:Verdana, Arial, Helvetica, sans-serif; font-size:10px; line-height:150%; color:#000000}\r\na:link {color:#000000; text-decoration:none;} \/* unvisited link *\/\r\na:visited {color:#000000; text-decoration:none;} \/* visited link *\/\r\na:hover {color:#000000; text-decoration:none;} \/* mouse over link *\/\r\na:active {color:#000000; text-decoration:none;} \/* selected link *\/\r\n<\/style>\r\n<\/head>\r\n<body>\r\n\r\n<table width=\\"500\\" border=\\"0\\" cellspacing=\\"0\\" cellpadding=\\"0\\" align=\\"left\\">\r\n\r\n<tr>\r\n\r\n<td colspan=\\"3\\" valign=\\"top\\">\r\n\r\n<p class=\\"twelvebold\\">\r\n\r\nEAI pays tribute to artist <strong><a href=\\"http:\/\/eai.org\/artistTitles.htm?id=10960\\"><font style=\\"text-decoration:none\\" color=\\"#000000\\">Nancy Holt<\/font><\/a><\/strong> (1938-2014) with a daylong celebration of her extraordinary film and video works. EAI will screen twelve of Holt's moving-image pieces, which span the years 1968 to 2013, honoring her life through a daylong immersion in her work.\r\n<\/p>\r\n<br \/><\/td>\r\n<\/tr>\r\n\r\n<tr>\r\n\r\n<td width=\\"250\\" valign=\\"top\\"><img src=\\"https:\/\/www.eai.org\/\/user_files\/supporting_documents\/holt_monolake_portrait_xl.jpg\\" width=\\"250\\" height=\\"188\\" hspace=\\"0\\" vspace=\\"0\\" border=\\"0\\" \/><\/td>\r\n<td width=\\"30\\" valign=\\"top\\"> <\/td>\r\n<td width=\\"238\\" valign=\\"top\\">\r\n<p class=\\"normalbold\\">\r\n<strong>Saturday, April 5th, 2014<br \/><br \/>\r\nNoon - 7 pm<br \/>\r\n<br \/>\r\nElectronic Arts Intermix (EAI)<br \/>\r\n535 West 22nd Street, 5th floor<br \/>\r\nNew York, NY 10011<\/strong><br \/>\r\n<strong><a href=\\"http:\/\/www.eai.org\\"><font style=\\"text-decoration:none\\" color=\\"#000000\\">www.eai.org<\/font><\/a><\/strong><br \/>\r\n<br \/>\r\nAdmission Free<\/p><\/td>\r\n<\/tr>\r\n\r\n\r\n<tr>\r\n<td colspan=\\"3\\" valign=\\"top\\">\r\n <br \/>\r\n \r\n<p class=\\"twelvebold\\"><br \/>\r\n\r\nA pioneer of earthworks and land art, Holt is best known for her large-scale environmental sculptures and public art projects. Beginning in the late 1960s, Holt created a significant body of film and video works. Through these pieces, which include some of the most important and iconic works of media art, Holt explored perception and memory through experiments with point of view and process.\r\n<br \/><br \/>\r\nAmong the works to be screened are Holt's pivotal videos, such as <em>Underscan<\/em> (1976) and <em>Revolve<\/em> (1977), her evocative landscape film <em>Pine Barrens<\/em> (1975), and several key collaborations with Robert Smithson, including <em>Swamp<\/em> (1971) and <em>East Coast, West Coast<\/em> (1969).\r\n<br \/><br \/>\r\nCovering a span of forty-five years, the screening will include <em>Mono Lake<\/em>, which Holt produced and edited in 2004 from footage recorded on a 1968 trip with Smithson and Michael Heizer, as well as Holt's final piece, the 2013 <em>The Making of Amarillo Ramp<\/em>.\r\n\r\n<br \/><br \/>\r\nHolt was a visionary whose art was at once large-scale and intimate, powerful and generous. From her transformative environmental sculptures, such as <em>Sun Tunnels<\/em> in northern Utah and <em>Dark Star Park<\/em> in Arlington, Virginia, to her groundbreaking film and video works, she leaves an indelible artistic legacy.\r\n<br \/><br \/>\r\nPlease click <strong><a href=\\"https:\/\/www.eai.org\/user_files\/supporting_documents\/04_14_nancy%20holt_pn_print_2.pdf\\"><font style=\\"text-decoration:none\\" color=\\"#000000\\">here<\/font><\/a><\/strong> for the full title and screening schedule.\r\n\r\n<\/p>\r\n\r\n<\/p>\r\n\r\n\r\n\r\n <font color=\\"#000000\\" size=\\"1\\" face=\\"Verdana, Arial, Helvetica, sans-serif\\">__________________________________<\/font><br \/>\r\n <br \/>\r\n \r\n \r\n \r\n<p class=\\"onefive\\"><strong><a href=\\"http:\/\/www.eai.org\/artistTitles.htm?id=10960\\"><font style=\\"text-decoration:none\\" color=\\"#000000\\">Nancy Holt<\/font><\/a><\/strong> was born in Worcester, Massachusetts on April 5, 1938 and died in 2014. She received a Bachelors degree in Biology from Tufts University, Medford, Massachusetts, in 1960. She received five National Endowment for the Arts Fellowships, two New York Creative Artist Fellowships, a Guggenheim Fellowship, and an Honorary Doctorate from the University of South Florida, Tampa. She produced site-specific environmental works in numerous public places around the world, including <em>Sun Tunnels<\/em> (1976), a large-scale sculptural work in Great Basin Desert, Utah; <em>Stone Enclosure (Rock Rings)<\/em> in Bellingham, Washington; <em>Astral Grating<\/em> (1987) in a New York City subway station, and Dark Star Park, in Arlington, Virginia, among many others. She also completed large-scale land reclamation projects, including <em>Sky Mound<\/em> (1988) in the New Jersey Meadowlands, and <em>Up and Under<\/em> (1998), in Nokia, Finland. Holt's works, including her films and videos, have been seen in exhibitions at the John Weber Gallery, New York; The New Museum of Contemporary Art, New York; The Whitney Museum of American Art, New York; The Museum of Modern Art, New York; Dia Center for the Arts, New York, and P.S.1 Contemporary Art Center, New York. The solo exhibition <em>Nancy Holt: Photoworks<\/em> was presented at Haunch of Venison, London, in 2012.<br \/><br \/>\r\nThe retrospective exhibition <em>Nancy Holt: Sightlines<\/em> originated at Columbia University's Miriam and Ira D. Wallach Art Gallery in New York, in 2010. Sightlines traveled to Badischer Kunstverein in Karlsruhe, Germany; Graham Foundation for Advanced Studies in the Fine Arts, Chicago, IL; Tufts University Art Gallery at the Aidekman Arts Center, Medford, MA; Santa Fe Arts Institute, Santa Fe, NM, and Utah Museum of Fine Arts at the University of Utah, Salt Lake City, UT. The exhibition was accompanied by a monograph of the same name, edited by Alena J. Williams, <em>Sightlines<\/em> curator. Holt lived in Galisteo, New Mexico.\r\n\r\n<\/p>\r\n\r\n\r\n\r\n <font color=\\"#000000\\" size=\\"1\\" face=\\"Verdana, Arial, Helvetica, sans-serif\\">__________________________________<\/font><br \/>\r\n <br \/>\r\n \r\n \r\n \r\n\r\n \r\n <p class=\\"onefive\\"><strong>About EAI<\/strong><br \/>\r\n <br \/>\r\nFounded in 1971, Electronic Arts Intermix (EAI) is one of the world's leading nonprofit resources for video art. A pioneering advocate for media art and artists, EAI fosters the creation, exhibition, distribution, and preservation of video art and digital art. EAI's core program is the distribution and preservation of a major collection of over 3,500 new and historical media works by artists. EAI's activities include viewing access, educational services, extensive online resources, and public programs such as artists' talks, exhibitions and panels. The Online Catalogue is a comprehensive resource on the artists and works in the EAI collection, and also features extensive materials on exhibiting, collecting and preserving media art: \r\n \r\n<strong><a href=\\"http:\/\/www.eai.org\\">www.eai.org<\/a><\/strong>\r\n\r\n <\/p>\r\n\r\n<font size=\\"1\\" face=\\"Verdana, Arial, Helvetica, sans-serif\\">__________________________________<\/font><br \/>\r\n <br \/>\r\n \r\n <p class=\\"onefive\\">\r\n\r\n\r\n<strong>Friends of EAI Membership 2014<\/strong><br \/>\r\n<br \/>\r\n Become a <strong><a href=\\"https:\/\/www.eai.org\/eai\/members.htm\\"><font style=\\"text-decoration:none\\" color=\\"#000000\\">2014 Friends of EAI Member<\/font><\/a><\/strong> at one of four different levels. Membership helps to support our programs and services, including our online resources, educational outreach, and vital preservation activities. By becoming a Friend of EAI, you support the future of media art and artists. Memberships begin at $40 ($25 for students).<br \/><br \/>\r\n \r\n For more information, and to become a member, please visit:<br \/><strong><a href=\\"https:\/\/www.eai.org\/eai\/members.htm\\">https:\/\/www.eai.org\/eai\/members.htm<\/a><\/strong>.\r\n <\/p>\r\n \r\n<br \/>\r\n<font size=\\"1\\" face=\\"Verdana, Arial, Helvetica, sans-serif\\">__________________________________<\/font><br \/>\r\n\r\n\r\n<p class=\\"onefive\\">Electronic Arts Intermix<br \/>\r\n535 West 22nd Street, 5th Floor<br \/>\r\nNew York, NY 10011<br \/>\r\nt (212) 337-0680<br \/>\r\nf (212) 337-0679<br \/>\r\n<strong><a href=\\"mailto:info@eai.org\\">info@eai.org<\/a><\/strong><br \/>\r\n<br \/>\r\n<strong><a href=\\"http:\/\/www.facebook.com\/pages\/Electronic-Arts-Intermix-EAI\/69797591849?ref=nf\\" target=\\"_new\\">EAI on Facebook<\/a><\/strong><br \/>\r\n<strong><a href=\\"http:\/\/twitter.com\/#!\/eai_org\\" target=\\"_new\\">EAI on Twitter<\/a><\/strong><br \/><\/p>\r\n<br \/>\r\n<font size=\\"1\\" face=\\"Verdana, Arial, Helvetica, sans-serif\\">___________________________________<\/font><br \/>\r\n \r\n\t\r\n<p class=\\"normal\\">This program is supported, in part, by public funds from the New York City Department of Cultural Affairs.<\/p>\r\n<img src=\\"http:\/\/www.eai.org\/pressreleases\/images\/funders\/dca_logo_web_0807.jpg\\" \/><br \/>\r\n\r\n\t\t<br \/>\r\n\r\n\r\n \r\n\r\n <br \/><\/td>\r\n<\/tr>\r\n<\/table>\r\n\r\n\r\n<\/body>\r\n<\/html>\",
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