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In Present Past: Sun Tunnels and the Historic Reconstruction of Vision City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Spring 5-8-2019 In Present Past: Sun Tunnels and the Historic Reconstruction of Vision Patrice M. Capobianchi CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/468 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] In Present Past: Sun Tunnels and the Historic Reconstruction of Vision by Patrice M. Capobianchi Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Art History, Hunter College The City University of New York 2019 Thesis Advisors Susanna Cole May 8, 2019 Professor, Department of Art Date & Art History Howard Singerman May 8, 2019 Professor, Department of Art Date & Art History Table of Contents Acknowledgments………………………………………………………… ii Image List…………………………………………………………………. iii Introduction………………………………………………………………… 1 Chapter One…………………………………………………………………11 Chapter Two…………………………………………………………………35 Chapter Three………………………………………………………………..56 Conclusion…………………………………………………………………...81 Bibliography…………………………………………………………………85 Images………………………………………………………………………..91 i Acknowledgments With immense gratitude to Susanna Cole & Howard Singerman. I am grateful for your knowledge, insight, and encouragement throughout this process. In sharing your perspectives with me I was able to ground my own. … ii Image List Figure 1: City, Michael Heizer. Garden Valley, Nevada. Courtesy of the Graduate Center, City University of New York. Figure 2: Archaeological site at Teotihuacán, Mexico. Courtesy of the City College of New York. Figure 3: Chaco Culture National Historic Park in Chaco Canyon, New Mexico. Courtesy of Elizabeth Barlow Rogers, Foundation for Landscape Studies. Figure 4: The human eye’s visual process. Courtesy of Michelle L. Johnson, The Gale Encyclopedia of Nursing and Allied Health. Figure 5: Map of Nancy Holt’s land in the Great Basin Desert, Utah. Map published in Nancy Holt: Sightlines. Figure 6: Sun Tunnels’ center stone in Lucin, Utah. Courtesy of Patrice Capobianchi. Figure 7: Installation view, Earthworks, at Dwan Gallery New York. Published in Nancy Holt: Sightlines. Figure 8: Installation view, Earthworks, at Dwan Gallery New York. Published in Nancy Holt: Sightlines. Figure 9: Aerial view of Chaco Canyon, New Mexico. Courtesy of University of California, San Diego. Figure 10: Pueblo Bonito at Chaco Culture National Historic Park in Chaco Canyon, New Mexico. Courtesy of University of California, San Diego. Figure 11: Chetro Ketl at Chaco Culture National Historic Park in Chaco Canyon, New Mexico. Courtesy of Susan Silberberg-Peirce. Figure 12: Casa Rinconada at Chaco Culture National Historic Park in Chaco Canyon, New Mexico. Courtesy of Elizabeth Barlow Rogers, Foundation for Landscape Studies. Figure 13: Mendoza Codex, illustration of night-time skywatchers. Courtesy of Anthony Aveni, Skywatchers of Ancient Mexico. Figure 14: Wijiji at Chaco Culture National Historic Park in Chaco Canyon, New Mexico. Courtesy of University of California, San Diego. iii Figure 15: Stonehenge archaeological site in Salisbury, England. Courtesy of the City College of New York. Figure 16: Abri Blanchard Bone, Dordogne Valley, France. Courtesy of A. Marshack, The Roots of Civilization. Figure 17: Detail of Abri Blanchard Bone, Dordogne Valley, France. Courtesy of A. Marshack, The Roots of Civilization. Figure 18: Täi Plaque, Iraq. Courtesy of James Elkins, On the Impossibility of Close Reading: The Case of Alexander Marshack. Figure 19: Ishango Bone, Ishango, Democratic Republic of the Congo, Africa. Courtesy of Jean De Heinzelin, Scientific American. Figure 20: Fajada Butte at Chaco Culture National Historic Park in Chaco Canyon, New Mexico. Courtesy of University of California, San Diego. Figure 21: Sun Dagger at Chaco Culture National Historic Park in Chaco Canyon, New Mexico. Courtesy of Anna Sofaer, Karl Kernberger, Jay Crotty. The Solstice Project, Washington, D.C. Figure 22: Archaeological site of El Caracol at Chichén Itzá in Yucatan, Mexico. Courtesy of Allan T. Kohl. Figure 23: Chimney Rock archaeological site at Pagosa Springs, Colorado. Courtesy of Elizabeth Barlow Rogers, Foundation for Landscape Studies. Figure 24: Stonehenge winter solstice alignment in Salisbury, England. Courtesy of Eddie Mullholland, The Telegraph. Figure 25: Heel Stone at Stonehenge in Salisbury, England. Courtesy of the Harthill Archive of Architecture and Allied Arts. Figure 26: Chichén Itzá, Yucatan, Mexico. Courtesy of Moreen O’Brien Maser Memorial Collection, Skidmore College. Figure 27: Sun Tunnels, Nancy Holt. Lucin, Utah. Published in Nancy Holt: Sightlines. Figure 28: Various viewpoints located at Sun Tunnels’ site. Lucin, Utah. Published in Nancy Holt: Sightlines. Figure 29: Video still from Mono Lake at Mono Lake, California. Courtesy of Nancy Holt. iv Figure 30: Film still from Sun Tunnels in Lucin, Utah. Published in Nancy Holt: Sightlines. Figure 31: Views Through a Sand Dune, Nancy Holt. Narragansett Beach in Kingston, Rhode Island. Published in Nancy Holt: Sightlines. Figure 32: Missoula Ranch Locators: Vision Encompassed, Nancy Holt. North of Missoula, Montana. Published in Nancy Holt: Sightlines. Figure 33: Detail of Missoula Ranch Locators: Vision Encompassed, Nancy Holt. North of Missoula, Montana. Published in Nancy Holt: Sightlines. Figure 34: Locator (Cracked Window) and detail, Nancy Holt. New York, New York. Published in Nancy Holt: Sightlines. Figure 35: Hydra’s Head, Nancy Holt. Lewiston, New York. Published in Nancy Holt: Sightlines. Figure 36: Detail of Hydra’s Head, Nancy Holt. Lewiston, New York. Published in Nancy Holt: Sightlines. Figure 37: Roden Crater, James Turrell. Northeast of Flagstaff, Arizona. Courtesy of Elizabeth Barlow Rogers, Foundation for Landscape Studies. Figure 38: Star Axis, Charles Ross. New Mexico. Courtesy of Charles Ross, Charles Ross: The Substance of Light. Figure 39: Detail of Star Axis, Charles Ross. New Mexico. Courtesy of Charles Ross, Charles Ross: The Substance of Light. Figure 40: Solar Burn, Charles Ross. Courtesy of Charles Ross, Charles Ross: The Substance of Light. Figure 41: Western Graveyards, Nancy Holt. Nevada and California. Published in Nancy Holt: Sightlines. Figure 42: Preparatory photo drawing for Sun Tunnels, Nancy Holt. Lucin, Utah. Published in Nancy Holt: Sightlines. Figure 43: Lucin town sign. Lucin, Utah. Courtesy of Patrice Capobianchi. Figure 44: Bonneville Salt Flats in West Wendover, Utah. Courtesy of Patrice Capobianchi. Figure 45: Sun Tunnels aerial view. Great Basin Desert, Utah. Published in Nancy Holt: Sightlines. v Figure 46: Sun Tunnels, Nancy Holt. Great Basin Desert, Utah. Published in Nancy Holt: Sightlines. Figure 47: Drawing for Positioning of Holes in the Perseus Constellation for One Tunnel of “Sun Tunnels,” Nancy Holt. Great Basin Desert, Utah. Published in Nancy Holt: Sightlines. Figure 48: Sun Tunnels constellation holes. Lucin, Utah. Courtesy of Patrice Capobianchi. Figure 49: Sun Tunnels constellation light pattern. Lucin, Utah. Courtesy of Patrice Capobianchi. vi Introduction “As an artist [my work is] primarily an exteriorization of my own interior reality . they’re also made so that people can be a part of them and become more conscious of space, of their own visual perception and of the order of the universe. But also, I think the work is about ‘time’–a sense of time that is more universal.” -Nancy Holt … Nancy Holt’s Sun Tunnels occupies a unique place in art and world history coextensively, in that it rests on the juncture of extreme past and present. As an artwork it functions to render time visible, empowering viewers to become conscious of the surrounding landscape in a manner that is evocative of a prehistoric observatory. Today, we live in a rapidly developing world in which our visceral connection to the landscape has been disrupted, and for many, severed. Not unlike those who came before us, over the last century our societal intentions have been set on discovery: the conception and execution of progress in its many forms and iterations.1 Space travel, nuclear weapons development, the Internet, mass communications, and technological innovation, to name a few. Moving from this mentality has propelled us into a reality that truthfully, our forbearers might have thought improbable. And while this forward momentum is undoubtedly and remarkably expansive for humanity as a global culture, it has also played a role in limiting our physical engagement with the earth and its daily, seasonal, and yearly cycles. Our not so distant ancestors lived with their eyes on the horizon, walking about their daily and seasonal lives in patterned harmony with the earth and celestial cycles. Their personal, familial, and cultural lives were deeply entwined with the celebration of timely seasonal passage and ritual celestial events – including but not nearly limited to the summer and winter solstices, and vernal and autumnal equinoxes – while commemorating their interplay with the earth’s 1 The societal focus on forward motion and progress highlights the unique juxtaposition between this mentality and contemporary artists like Nancy Holt, whose art strives to stimulate the opposite. 1 landscape. Early sky watching prompted later generations’ large-scale construction of observational structures and
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