Situation Aesthetics: the Chance Encounter of Two Sound and Light Eliminators on the Art Historian’s Table

Robert Smithson, The Eliminator, 1964

To my eye, the one often reproduced photograph of Robert Smithson’s The Eliminator (1964) makes it a rather awkward and curious object, its title unnecessarily macabre. If only Smithson had been a contemporary of André Breton’s, I could have easily imagined the piece in one of the impromptu Surrealist shows. Much of that mystique is gone, now that I’ve finally seen it in person (it’s up at the New Museum in Ghosts in the Machine until September 30th), and I can certainly blame the black-and-white illustration for its unflattering shortcomings. Continue reading “Situation Aesthetics: the Chance Encounter of Two Sound and Light Eliminators on the Art Historian’s Table”