From his early days in the high desert near the small town of Bishop in southern California, Robert Kinmont’s work has been informed by the surrounding landscapes and ecosystems which also provide the foundation to his process.

Utilizing an amateur and handmade approach to both photography and sculpture, Kinmont illustrates the human scale and its relationship to one’s surroundings. Incorporating both irony and humour the works explore the systems and structures that continue to develop within this relationship.

In her essay, Julie Ault observes that “for the artist, the photographs imply the investigation of the distinct mental operations of applying a standard selection criteria to different objects, which required him to ‘re-set time,’ and to ‘think about that structural / functional criteria of our brain.’”—Exhibition Press release, 2009

*Please note this publication is secondhand and has some traces of previous ownership.

Produced on the occasion of two exhibitions of Robert Kinmont’s work; Listen, Kunsthaus Glarus, 10 February–5 May, 2013 & Measure, Kunstlerhaus Bremen, 8 June–1 September, 2013.

Although the Californian conceptual artist Robert Kinmont’s work dates back to the late 1960s and the beginning of 1970s, this is the first monograph of his work. Kinmont is primarily concerned with his environment, the Californian landscape. He works with simple, mostly natural materials, and places them in relation to his body and his life. Probably his best known work, entitled 8 Natural Handstands (1969/2005), a series of photographs showing the artist doing handstands in abandoned landscapes, on the edges of cliffs, river beds, forests and deserts, was illustrated in Lucy Lippard’s book Six Years: The Dematerialization of the Art Object from 1966 to 1972. Not so long afterwards, Kinmont retreated from art practice for the following three decades.