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Abstraction is everybody's zero but nobody's nought.
Robert Smithson
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Robert Smithson
Age: 35 †
Born: 1938
Born: January 2
Died: 1973
Died: July 20
Art Theorist
Artist
Conceptual Artist
Draftsperson
Drawer
Geologist
Land Artist
Painter
Photographer
Sculptor
Visual Artist
Passaic
New Jersey
Robert I. Smithson
Nought
Abstraction
Zero
Nobody
Everybody
Artist
More quotes by Robert Smithson
Nature is never finished.
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An emotion is suggested and demolished in one glance by certain words.
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Museums are tombs, and it looks like everything is turning into a museum.
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Artists are expected to fit into fraudulent categories.
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I am for an art that takes into account the direct effect of the elements as they exist from day to day apart from representation.
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A vacant white room with lights is still a submission to the neutral. Works of art seen in such spaces seem to be going through a kind of esthetic convalescence.
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Instead of causing us to remember the past like the old monuments, the new monuments seem to cause us to forget the future
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The memory of what is not may be better than the amnesia of what is.
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Artists themselves are not confined, but their output is.
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The slurbs, urban sprawl, and the infinite number, of housing developments of the postwar boom have contributed to the architecture of entropy.
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As long as cameras are around no artist will be free of bewilderment.
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Nature does not proceed in a straight line, it is rather a sprawling development.
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Visiting a museum is a matter of going from void to void.
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A work of art when placed in a gallery loses its charge, and becomes a portable object or surface disengaged from the outside world.
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Some artists imagine they've got a hold on this apparatus, which in fact has got a hold of them. As a result, they end up supporting a cultural prison that is out of their control
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For many artists the universe is expanding for some it is contracting.
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Language should be an ever developing procedure and not an isolated occurrence.
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From the top of the quarry cliffs, one could see the New Jersey suburbs bordered by the New York City skyline.
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Photographs are the results of a diminution of solar energy, and the camera is an entropic machine for recording gradual loss of light.
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When a finished work of 20th century sculpture is placed in an 18th century garden, it is absorbed by the ideal representation of the past, thus reinforcing political and social values that are no longer with us
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