https://whitehotmagazine.com/articles/case-study-by-donald-kuspit/3993
 

In “Quasi-Infinities and the Waning of Space,” an article that appeared in the November, 1966 issue of Arts Magazine, Smithson writes, in a footnote to a sentence referring to “Zeno’s second paradox of ‘infinite regress’”…a “non-Aristotelian logic” asserting “that ‘movement is impossible’,” that “Judd has been interested in ‘progressions’ and ‘regressions’ as ‘solid objects.’  He has based certain works on ‘inverse natural numbers.’  Some of these may be found in Summation of Series by L.B.W. Jolley, a Dover paperback” (p. 35).  In 1965, a year earlier, in the catalogue for an exhibition of “7 Sculptors” at the Philadelphia Institute of Contemporary Art, Smithson declared that “Judd has brought space down into an abstract world of mineral forms.”  “Maintain[ing] a remote distance from the organic,” Judd revolutionized sculpture by completely de-anthropomorphizing space (p. 22).  (Didn’t the pyramids do that two millennia earlier?  Isn’t the desert in which they were built at a more remote distance from the organic than the urban gallery space in which Judd’s abstract sculptures were exhibited?)

• A few months later, in the February, 1967 issue of Arts Magazine, a one sentence letter by Judd appeared, laconically stating:  “Smithson isn’t my spokesman” (p. 217).

  
  - bill 9-15-2024 12:21 pm [add a comment]

https://monoskop.org/images/e/e3/Smithson_Robert_1966_Quasi-Infinities_and_the_Waning_of_Space.pdf

https://xenopraxis.net/readings/lee_ultramoderne.pdf