By Len Lanius

Len Lanius, originator of yankee Jiu-Jitsu, and writer of this publication, is a instance of the price of actual education and of the potency of the approach he teaches...

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And while Fried writes of the “perpetual present” of art and the durational quality of “objecthood,” Smithson gave us a work that unfolds in the time it takes to view it and changes radically over the course of its existence. And yet . . Spiral Jetty might also be that Picasso in the desert. It might, productively, be both art and object. I had the sense there, at the edge of the Great Salt Lake, that the work really was complete within itself, that it didn’t need me, that all my thoughts about space and time and Michael Fried and “objecthood” were beside the point.

The Sun Tunnels hadn’t been on my original, vague itinerary, and such was the state of my research that it was all conducted in the lobby of the Sheraton Salt Lake City. Crouching over my laptop in an easy chair, I waited to be discovered as a wireless interloper. Two hotel managers did in fact amble over while I was sitting there in my shorts and T-shirt. We had an extended discussion about my iBook; they asked me how I liked it, and I told them that I loved it with a passion I’ve rarely felt for a human.

Being at Spiral Jetty engendered in me a sense of articulated space, one that wasn’t alienating because it was marked by mountains, edges, colors, which together staved off the disorientation I associate with open, ungridded space, like being on a sailboat at sea. All the elements of the landscape were so distinct, like Ellsworth Kelly’s planes of color, that they took on an unlimited sense. Sky meets water meets salt meets land meets mountain. The space is elemental and understandable, only a little overwhelming, and deeply inspiring.

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American Jiu Jitsu The New Art of Self Defense by Len Lanius


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