Editor’s note, June 18, 2024: The monoliths are back! This article was originally published on December 4, 2020. A new monolith appeared in Nevada in June 2024.
In the tumultuous year of 2020, amidst global challenges and uncertainties, a series of enigmatic structures emerged, capturing the world’s attention and sparking widespread curiosity. These were the monoliths – tall, metallic pillars that appeared and disappeared in various locations across the globe, reminiscent of something from science fiction. From the deserts of Utah to the mountains of Romania and beyond, these mysterious objects became a symbol of wonder and intrigue in an otherwise turbulent time.
These monoliths, typically described as long, vertical slabs of metal standing between 10 to 12 feet tall, shared a common trait: sudden appearances followed by equally sudden vanishings. The saga began with the discovery of the first monolith in the remote Utah desert on November 18, only for it to disappear by November 27. A second monolith surfaced near Piatra Neamt, Romania, on November 27, vanishing by December 2. California’s Pine Mountain became the site of the third monolith on December 2, which was briefly removed on December 3, only to reappear the next day. Finally, Albuquerque, New Mexico, saw a monolith emerge on December 7, which was also taken down the same day.
The striking resemblance of these structures to alien artifacts, particularly the iconic monoliths from Stanley Kubrick’s cinematic masterpiece, 2001: A Space Odyssey, immediately fueled speculation about extraterrestrial origins. In Kubrick’s film, black monoliths serve as catalysts for human evolution, left by an unseen alien intelligence. This cinematic association amplified the eerie and enigmatic nature of the real-world monoliths, making them solitary beacons of mystery in our modern landscape.
Despite the flurry of global attention, concrete information about these monoliths remained scarce. This very lack of explanation seemed to be part of their allure. In a world often saturated with information, the monoliths presented a “beautifully inexplicable phenomenon,” a reminder that marvels and mysteries still exist.
To better understand this phenomenon, let’s delve into what we currently know about these monoliths and why they became such a captivating topic of global conversation.
A Timeline of the Monolith Appearances
Image: Composite image showing the California monolith with its smooth surface, the Utah monolith embedded in red rock, and the Romanian monolith with swirling patterns. Each monolith is a tall, triangular prism reflecting light.
The Utah Monolith: Discovery and Disappearance in the Desert
The narrative began in November 2020 within the rugged terrain of Utah’s Red Rock Country. A helicopter crew, engaged in wildlife monitoring for bighorn sheep, noticed an unusual glint of metal from below. Investigating further, they discovered a towering, smooth, triangular prism made of metal, firmly planted in the canyon floor.
In a video released by the Utah Department of Public Safety, the crew’s bewildered reactions captured the initial sense of awe and disbelief. “What the heck is that?” one crew member questioned, while another jokingly referred to it as an “alien life form.”
The location of the Utah monolith, deep within a remote canyon, added to its mystique. As reported by Utah’s Division of Wildlife Services to the New York Times, the site was exceptionally difficult to access without aerial transport. While officials remained puzzled about its origin and duration at the location, internet sleuths on platforms like Reddit utilized Google Maps Earth View to pinpoint its installation sometime between August 2015 and October 2016. This pre-dates the immediate chaos of 2020, deepening the mystery of its purpose and creator.
The Utah Department of Public Safety officially announced this “unusual find” on Facebook, playfully using an alien emoji, which propelled the story into viral fame. In a year marked by global pandemic and widespread anxiety, the sudden appearance of a mysterious artifact, seemingly out of nowhere in the desert, resonated deeply with a public yearning for distraction and wonder.
However, the monolith’s presence was short-lived. BASE jumper Andy Lewis and adventure guide Sylvan Christensen documented their removal of the monolith on November 27, citing environmental concerns. They argued in a joint statement that the influx of visitors to the fragile desert ecosystem, unprepared for such traffic, was causing irreversible damage. Despite acknowledging the “tragic” nature of dismantling the monolith, they maintained it was a necessary action to protect the environment.
The Romanian Monolith: Looping Lines and a Quick Vanishing Act
Coincidentally, on the very day the Utah monolith disappeared, a new one emerged. On November 27, Romanian news outlets reported the discovery of a monolith outside Piatra Neamt, situated on the Bâtca Doamnei plateau, near a significant archaeological site.
Similar in dimensions to its Utah counterpart, the Romanian monolith also stood between 10 to 12 feet tall and featured a triangular prism shape. However, it differed in surface texture. Unlike the smooth, reflective surface of the Utah monolith, the Romanian structure was adorned with looping lines and had a visible welded seam near its base, suggesting a different construction or perhaps a different creator.
Piatra Neamt Mayor Andrei Carabelea addressed the monolith’s arrival in a Facebook statement, with a lighthearted tone. He joked about “alien, cheeky and terrible teenagers” planting monoliths around the world, expressing his honor that they chose his city. Unlike the environmental concerns raised in Utah, Mayor Carabelea expressed hope that the monolith would attract tourism to the region.
Yet, just four days after its appearance, the Romanian monolith vanished overnight, leaving behind the same unanswered questions about its origin and purpose as its predecessor.
The California Monolith: Art, Destruction, and Resurrection
As the Romanian monolith disappeared, the narrative shifted to California. On December 2, a third monolith was found atop Pine Mountain, accessible via a hiking trail. Local news reports from Atascadero News described it as another triangular prism, approximately 10 feet tall but slightly narrower than the previous monoliths. Like the Utah monolith, it possessed a smooth stainless steel surface, but unlike the Utah structure, it was not embedded in the ground and appeared less securely placed.
On December 3, this monolith met a destructive end. A group of young men, who reportedly drove considerable distance, livestreamed themselves destroying the California monolith on the blockchain platform DLive. Clad in camouflage gear and Trump-themed paraphernalia, they chanted slogans like “America First” and “Christ is king” as they toppled the structure, proclaiming their rejection of “illegal aliens from Mexico or outer space.” After destroying it, they replaced it with a wooden cross and dragged the metal structure down the mountain.
However, the story of the California monolith took an unexpected turn. On December 4, it reappeared. In a twist that distinguished it from the previous monoliths, the creators of the California monolith came forward. Atascadero residents Travis Kenney, his father Randall Kenney, Wade McKenzie, and Jared Riddle, local metal artists, revealed themselves as the builders. Inspired by the global monolith phenomenon and the trilogy concept from 2001: A Space Odyssey, they decided to create their own. Following its destruction, they chose to rebuild and reinstall it, stating their intention was to inject some “fun” and “positivity” into the often-negative discourse of 2020, as Travis Kenney explained in a statement.
The New Mexico Monolith: A Brief Appearance in a Parking Lot
The monolith saga continued with a fourth appearance in Albuquerque, New Mexico, on December 7. This time, the monolith was found in a less remote and more mundane location: the parking lot of an REI store. However, its lifespan was equally brief. Videos circulating on social media showed a group dismantling the monolith, with witnesses reporting that they were even seen attacking it with sledgehammers before taking it down. Similar to the California case, a local artist collective later claimed responsibility for the New Mexico monolith installations.
Theories Surrounding the Monoliths: Art, Aliens, or Something Else?
Image: Still frame from HBO’s Westworld, showing two men in a desert landscape similar to where the Utah monolith was found. The image highlights the visual similarity between the show’s setting and the monolith discovery site.
The sudden emergence of monoliths in geographically diverse locations naturally triggered a wave of theories attempting to explain their origins.
One leading theory posited that the Utah monolith, given its early appearance and remote location, might be the original, with subsequent monoliths being copycat installations. The California and New Mexico monoliths, with their creators quickly claiming responsibility, seemed to support this idea of a viral art trend inspired by the initial mystery.
The possibility of a guerrilla marketing campaign was considered but deemed unlikely, particularly for the Utah monolith, given its potential installation date years prior to its discovery. Such a prolonged and subtle marketing strategy seemed improbable.
Another popular theory connected the Utah monolith to the HBO series Westworld. As noted by some, the discovery site was geographically close to Westworld filming locations from 2015. This led to speculation that the monolith could have been a leftover prop or an elaborate prank by someone associated with the production.
However, the most prevalent theory centered around the idea of anonymous art installations. The Utah monolith, in particular, was widely speculated to be the work of an unknown artist, with the Romanian, California, and New Mexico monoliths potentially being tributes or continuations of this initial artistic statement.
The art collective “The Most Famous Artist” initially claimed credit for both the Utah and California monoliths via social media, even offering “authentic alien monoliths” for sale on their website for a substantial price. However, the subsequent revelation by Travis Kenney and his team as the creators of the California monolith cast doubt on “The Most Famous Artist’s” claims, at least regarding the California structure. The true origin of the Utah monolith remained uncertain.
A compelling early candidate for the artist behind the Utah monolith was the minimalist sculptor John McCracken, who passed away in 2011. McCracken was known for his “planks”—freestanding, minimalist slabs of metal. Intriguingly, McCracken himself believed his plank sculptures influenced the monolith design in 2001: A Space Odyssey, as noted in his New York Times obituary. He was fascinated by extraterrestrial life and aimed for his art to evoke the feeling of alien artifacts.
Art Newspaper highlighted the striking resemblance between the Utah monolith and McCracken’s plank sculptures. McCracken’s son, Patrick McCracken, told the New York Times that his father had envisioned placing art installations in remote locations for unexpected discovery, aligning perfectly with the Utah monolith’s appearance.
David Zwirner, representing McCracken’s estate, initially believed the Utah monolith to be a genuine McCracken piece. However, upon closer examination of photographs, Zwirner retracted his initial assessment. He pointed out that the Utah monolith’s construction, featuring rivets and screws, was inconsistent with McCracken’s meticulous, handcrafted approach to sculpture. Despite concluding it wasn’t a McCracken, Zwirner acknowledged that McCracken would have appreciated the mystery and location, considering it a “wonderful homage.”
The prevailing consensus shifted towards the monoliths being inspired by John McCracken’s minimalist aesthetic, potentially created by artists influenced by his work. The identity of these mystery artist(s), however, remained elusive.
The Art Wizard Theory and the Enduring Power of Mystery
Image: Performance artist Zardulu holding a beaver with a prosthetic leg. The image represents Zardulu’s art of creating surreal and viral events that blur the lines between fantasy and reality.
Performance artist Zardulu, known for self-describing as a “wizard” and her art as “modern mythmaking,” emerged as another intriguing, if less concrete, possibility in the monolith saga. Zardulu is renowned for staging events that push the boundaries of believability, often resulting in viral news stories. Her past works include fabricated yet widely circulated stories like a “three-eyed fish” in the Gowanus Canal and a “raccoon riding an alligator” in Florida. She also famously claimed credit for the “Pizza Rat” phenomenon in New York City. Zardulu’s art thrives on creating unexpected moments of wonder and surrealism within everyday life.
In a 2017 interview, Zardulu explained her artistic approach: “I take my fantasy and present it as reality to an unknowing audience, thus creating a true surreality.”
When contacted about the monoliths, Zardulu noted the timing of the Utah monolith’s appearance aligning with her peak productivity in late 2015. She also mentioned her work in Eastern Europe around that time, including Romania, Bulgaria, and Macedonia. While she stopped short of claiming direct responsibility for the monoliths, she hinted at a connection, stating that many of her projects are designed for delayed discovery, sometimes taking years for their impact to unfold.
While Zardulu’s history of planting false stories and orchestrating viral events makes it essential to approach her potential involvement with skepticism, the timeline of the Utah monolith’s appearance (estimated between 2015-2016) does coincide with Zardulu’s period of activity. Her artistic focus on creating surreal, unexpected moments in public spaces resonates with the enigmatic nature of the monoliths.
The Lasting Significance of the Monoliths, Regardless of Origin
Image: Robert Smithson’s “Spiral Jetty,” a large spiral earthwork in the Great Salt Lake, Utah. The image illustrates land art and the incorporation of natural landscapes into art, similar to how the monoliths interacted with their environments.
Ultimately, regardless of their creator or intended purpose, the monoliths achieved cultural significance. They transcended their physical forms to become a global meme, spreading rapidly across the internet and capturing collective imagination. Whether intentional artworks or not, they functioned as art in their impact and reception.
Artist and Duke professor Pedro Lasch, creator of the public art course ART of the MOOC: Public Art & Pedagogy, emphasized the importance of public engagement with the monoliths over defining them strictly as “art.” He noted that debates about artistic classification can distract from the more crucial question: “why we find something so fascinating.”
Lasch observed that the monoliths echoed themes in minimalism and land art, particularly the work of Robert Smithson, known for large-scale earthworks like “Spiral Jetty” that integrate with natural landscapes. While the monoliths’ design and characteristics weren’t entirely novel, their viral spread and cultural resonance spoke to the specific anxieties and needs of the moment in 2020.
Lasch suggested that the monoliths’ appeal might stem from a deep-seated need for news and social media content unrelated to the “drastic state of our political affairs.” In a year dominated by political and pandemic-related stress, the minimalist, shiny, and mysterious nature of the monoliths offered a welcome escape.
Whether conceived by an “art wizard” like Zardulu or simply inspired by minimalist art, the monoliths served as unexpected intrusions of the otherworldly into an otherwise ordinary and often challenging world. They provided a temporary departure from the anxieties of quarantine and global strife, inviting contemplation on broader themes—environmental impact, cultural reception, and even the possibility of the unknown.
In conclusion, the monoliths, in their enigmatic appearances and disappearances, functioned as art in its purest form: prompting reflection, sparking conversation, and pushing beyond the boundaries of our everyday perceptions.
Or, perhaps, it really was aliens.
See More:
