Robert Smithson’s earthwork, the Spiral Jetty, was chosen by the Utah State Legislature in 2017 to be Utah’s official state work of land art (Utah Code). Representative Rebecca Edwards (R-North Salt Lake) sponsored H.B. 171. Governor Gary R. Herbert signed the bill into law on March 22, 2017. The 2017 Legislative General Session was good for Utah cultural arts. In addition to the Spiral Jetty, Native American Rock Art became the official State Works of Art. The Spiral Jetty was listed on the National Register of Historic Places in 2024.

Robert Smithson (1938-1973) was an American artist known for sculpture and land art. Land art is an art movement that emerged in the 1960s and 1970s in the United States and Great Britain. Land art is also known as earth art, earthworks, and environmental art. In 1999, through the generosity of the artist Nancy Holt, Smithson’s wife, and the Estate of Robert Smithson, the artwork was donated to the Dia Art Foundation. The following information was provided by Dia.

Robert Smithson’s Spiral Jetty, located at Rozel Point on the northeastern shore of Great Salt Lake in Utah, is one of the most remarkable examples of land art. In 1970, assisted by a crew operating dump trucks, a tractor, and a front loader, Smithson displaced some 6,000 tons of black basalt rock and earth from the adjacent shore to form a coil 1,500 feet long and approximately 15 feet wide, winding counterclockwise into the lake. Created at a time when water levels were particularly low, Spiral Jetty was submerged in 1972. Droughts caused the lake to recede in 2002, and the sculpture has remained visible ever since.

“I like landscapes that suggest prehistory,” Smithson observed. The site of Spiral Jetty was chosen by the artist for the lake’s unusual ecological and geological properties. The reddish coloration of the water, caused by the high presence of microbes, initially attracted Smithson to the north arm of the lake. The spiral shape alludes to the molecular lattice of the salt-crystal deposits found throughout the lake’s expanse, and in forming the work, he chose to use basalt boulders of hardened lava found along the peninsula, scattered remnants of the now extinct volcanos in the area.

The fractured landscape, fluctuating water levels, and the water’s salinity also speak of the artist’s preoccupation with the concept of entropy. Smithson envisioned an artwork in a state of constant transformation whose form is never fixed and undergoes decay from the moment of its creation. His thinking was equally shaped by his understanding of the third law of thermodynamics as well as a fascination in science fiction and popular science.

As a path for walking and looking, Spiral Jetty is a sculpture to be experienced. The act of traversing the earthwork is a prominent image in the eponymous film completed months after Smithson built the sculpture. Along with aerial shots of Spiral Jetty is a sequence of images of the artist running on the sculpture. Reaching the innermost point, Smithson gazes out at the spiral path, lake, and mountains. Spiral Jetty serves as a site from which to view the surroundings—the prehistoric environment that Smithson selected for it.

Smithson’s wife, Nancy Holt (1938-2014), was also a land artist. She created the Sun Tunnels in Utah’s Great Basin Desert.