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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.

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
Jersey
York
City
Bordered
Cities
Skyline
Artist
Skylines
Quarry
Suburbs
Cliffs

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The museum spreads its surfaces everywhere, and becomes an untitled collection of generalizations that mobilize the eye.
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Abstraction is everybody's zero but nobody's nought.
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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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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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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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Artists are expected to fit into fraudulent categories.
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Language should be an ever developing procedure and not an isolated occurrence.
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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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Visiting a museum is a matter of going from void to void.
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Banal words function as a feeble phenomena that fall into their own mental bogs of meaning.
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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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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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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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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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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 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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Nature is never finished.
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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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