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Artists are expected to fit into fraudulent categories.

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
Fraudulent
Categories
Expected
Fit
Artists
Artist

More quotes by Robert Smithson

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Language should find itself in the physical world, and not end up locked in an idea in somebody's head
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Mistakes and dead-ends often mean more to these artists than any proven problem
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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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Abstraction is everybody's zero but nobody's nought.
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Visiting a museum is a matter of going from void to void.
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An emotion is suggested and demolished in one glance by certain words.
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Cultural confinement takes place when a curator imposes his own limits on an art exhibition, rather than asking an artist to set his limits.
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Art history is less explosive than the rest of history, so it sinks faster into the pulverized regions of time.
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As long as cameras are around no artist will be free of bewilderment.
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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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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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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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Banal words function as a feeble phenomena that fall into their own mental bogs of meaning.
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The museums and parks are graveyards above the ground- congealed memories of the past that act as a pretext for reality.
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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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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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A camera is wild in just about anybody's hands, therefore one must set limits. But cameras have a life of their own. Cameras care nothing about cults or isms. They are indifferent mechanical eyes, ready to devour anything in sight. They are lenses of the unlimited reproduction.
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Parks are idealizations of nature, but nature in fact is not a condition of the ideal.
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Museums are tombs, and it looks like everything is turning into a museum.
Robert Smithson