How we view art all depends on the position from which we see it, not only where we stand but also where our opinion lays towards that particular piece of art.
In our modern times the media plays an even more important role, where do we see it: internet, book, magazine, TV, movie. Even if we take one media like books – the importance of who took the photo, when was the photo taken, who published it – will influence how we see the art.
One of the most famous pieces of LandArt is the Spiral Jetty from Robert Smithson, made in Great Salt Lake, Utah in the year 1970.


Spiral Jetty

The above photo shows it from a certain angle, position. The next photo also shows it from a similar angle and position.


Spiral Jetty

The first photo appears in a book with the title Land Art written by Ben Tufnell published by  Tate, the photo was taken in 2002.
The second photo appears in a Dutch art magazine called Kunst Schrift, the photo was taken in 1970.


Spiral Jetty

Again Spiral Jetty from a different angle and position, from a book with the title Land Art written by Michael Lailach published by Taschen the photo was taken in 1970.

Spiral Jetty is a large piece of work 460 metres long and 4.6 metres wide, Robert Smithson moved 6650 ton of earth to make the piece. To capture a piece of work like this on a A4 size piece of paper will alter the perception of the work no matter how you do it. Photos can be altered these days very easy to give a certain impression, that’s all it ever will be, an impression.
The real Spiral Jetty on the moment is very different as the water level in the Great Salt Lake has risen which makes it much harder to see it with many parts of it been washed away.
The 3 publications want to give a certain impression of a piece of work that doesn’t exist anymore, all what is left are 2D images to give us an impression of what it once was.

To see 3D works of art in 2D will give a different perspective even without the use of photo alteration.  I can never give you a true vision of a 3D piece of work which stands here in front of me by using photo’s and the internet.


Serialsly Wrong

Not even when I give you a closeup vision of the piece of work.


Serialsly Wrong

A photographer who is 10 times better than me still do not get the true feeling of the piece of work. In this case even more as every site of the work gives a different impression and shows a different image. You need to experience it to get the full impact of the work.
No website can truly give you the meaning behind the work, no words will ever describe it. The moment you hold it in your hands you see and even feel Serialsly Wrong or the moment you stand at Great Salt Lake you will see Spiral Jetty.

A 2D piece of work can be represented on the web a lot better as 2D into a different form of 2D isn’t so hard to perceive.


Like this painting from Paul Hey which hangs on my wall for a long time now and by showing a close up you get an even better feel of the work.


The scene painted here has changed and might not exist anymore but the piece of work still does, the painting exist. Yet I can only guess what the painter wanted to show me by painting this scenery.

Even when you have a high grade of immersion or a high ability of immersion the art represented in book-form or virtual can only be experienced by being in direct touch with the art. The photographs here on this blog, the words I am writing about it can tickle your imagination only. The total immersion of your imagination will be achieved when you are in touch with the art.

hoe zie je de foto
als de foto jou
iets toont met het gezicht
op gezichtsbedrog
de gezichtshoek geeft een
ander veld
dan het gezichtspunt
jou gezichtsvermogen houdt
alles in de hand 

wie ben ik om jou te vertellen hoe je moet zien
how can I tell you what to see




while the letter enter the eye
will the beholder
the effect
of colour
the idea
of form

what mark will the seeing
leave behind in the memory
of the beholder

the passing landscape
a distant dot
the speeding line

we see what we can’t see


passing by

we have been thinking about the appearance
of the gallery