Historic Spiral Jetty Secures Its Spot On The National Register, Cementing Its Legacy As An Icon Of Land Art
In an astonishing achievement that blends art, history, and activism, Robert Smithson’s renowned Spiral Jetty—a monumental land sculpture perched on the shores of the Great Salt Lake—has officially been added to the National Register of Historic Places. This unprecedented designation marks the first time that a piece of the Land Art movement has made it onto this esteemed list, underscoring the enduring relevance of this 50-year-old masterpiece.
But this milestone wasn’t achieved overnight. It was thanks to the tireless efforts of Amy Reid, a landscape architecture student at Utah State University, who dedicated her master’s thesis to the pursuit of this monumental task. Not only did she navigate a labyrinth of bureaucracy, including extensive collaboration with the Dia Art Foundation, the Utah Department of Natural Resources, and the Holt/Smithson Foundation, but she also had to secure permission from various stakeholders, including the caretakers of the site. This feat was no small feat given the often tumultuous relationship between Land Art and permanence.
Reid, who has lived in Utah for over 15 years, was driven by a deep appreciation for Smithson’s bold vision. She had first encountered the Spiral Jetty through her sister, who visited the site while studying art in 2002. As she delved into her research, Reid became increasingly aware of the cultural and historical significance of this work. Her mission wasn’t about freezing the site in time but rather creating a “formal record” of the Jetty’s profound impact on both the landscape and the community.
“It really is to provide a formal record of this site in a way that has not been done before,” Reid explained in an interview with the Salt Lake Tribune. “For history, for the record, we now have a very complete view of the landscape, the natural forces, the man-made impacts on the landscape—all these things that influenced Smithson to choose this site.” Her words reflect a broader commitment to ensuring that Smithson’s work, and the cultural forces that shaped it, are preserved for future generations.
Smithson, a pioneering figure of the 1960s and 70s Land Art movement, had an unconventional approach to art that was radically different from traditional ideas of permanence and preservation. His approach was deeply intertwined with his fascination with entropy—the natural process of decay and transformation. In fact, Smithson intentionally created works that engaged with time, nature, and decay in ways that defied the conventional art world’s desire for permanence.
As the Dia Art Foundation, which oversees the site, states, “Spiral Jetty is a testament to creator Robert Smithson’s enduring fascination with entropy.” And indeed, this iconic piece has withstood the test of time in ways that are both awe-inspiring and humbling. Constructed in 1970 with 6,650 tons of rock and earth gathered directly from the site, the spiral continuously shifts its form as the forces of nature and time take their toll. The artwork’s connection to the Great Salt Lake’s unpredictable ebb and flow has made it a living testament to the ever-changing landscape.
The Spiral Jetty’s journey has been as dynamic as its creation. After its completion, the rising waters of the Great Salt Lake submerged the artwork, leaving it hidden for years at a time. Over the decades, it has resurfaced and disappeared in a cyclical pattern, embodying Smithson’s vision of impermanence. But since 1997, the Jetty has remained visible, enduring the forces of nature and reminding us all of the fragile relationship between man, art, and the environment.
The significance of this new designation cannot be overstated. Not only does it ensure the Spiral Jetty’s place in the annals of American history, but it also draws attention to the broader importance of Land Art in the cultural landscape. Jessica Morgan, Director of the Dia Art Foundation, expressed her enthusiasm for the recognition, noting that this designation will help “spread awareness of the iconic artwork and advocate for its long-term preservation.” She continued, “In the fifty-four years that Spiral Jetty has existed, it has been both submerged by the Great Salt Lake and stood far from the lake front, bearing witness to the changing landscape around it. Beloved in Utah and far beyond, this artwork has come to mean many things to many people, and we are proud to continue our work caring and advocating for Spiral Jetty to preserve it for generations to come.”
This historic victory for the Spiral Jetty represents not just a win for art, but a crucial step in recognizing the intersection between human creativity and environmental change. It’s a reminder of how our relationship with the land and with art is ever-evolving, shaped by time, nature, and culture. Smithson’s creation, once a radical experiment, is now a permanent symbol of this dynamic interplay, forever etched into the cultural heritage of the United States.
The addition of the Spiral Jetty to the National Register isn’t just an artistic triumph—it’s a call to action. It invites us to recognize the importance of preserving such cultural landmarks and to celebrate the ways in which art can reflect and influence our understanding of the natural world. Amy Reid’s dedication and passion have ensured that this iconic piece of Land Art will continue to inspire and provoke thought for generations to come.
For those fortunate enough to visit the Great Salt Lake, the Spiral Jetty now stands not only as a work of art but as a living testament to the forces of history, time, and nature. And with its new place on the National Register of Historic Places, its story will continue to unfold for decades to come.
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