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1.  Tom Holert «Deserts of the Political - Michelangelo Antonioni, Robert Smithson and Michael Snow»[64] Smithson, «Entropy and the New Monuments» (1966), RS:CW, p.16. In 1966, Smithson s populist B-picture canon could certainly be understood as a planned platform. For one, it could have been a declaration of war on the middleclass cineaste s concept of «sophisticated» Hollywood films and European art movies between neorealism and the Nouvelle Vague. In this context, one would have to think of the reputation Antonioni s films had; their existential, empty elegance is bitingly ridiculed by critics such as Pauline Kael (see especially «The Come- Dressed-As-the-Sick-Soul-of-Europe Parties: «La Notte,» «Last Year at Marienbad,» «La Dolce Vita» (1963), Pauline Kael, I Lost It at the Movies, New York, 1965, pp.161 175, and «Tourist in the City of Youth: Blow-Up» (1966), Kiss Kiss Bang Bang, New York, 1968, pp.39 47). For another, Smithson acknowledges (though indirectly) the queer underground film scene of the 1960s, where Andy Warhol, Jack Smith, or Kenneth Anger worked with the iconography and desublimating appeal of commercial exploitation films. See also the text XX by Eric de Bruyn. [more]  |
