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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.
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
Graveyard
Pretext
Museums
Parks
Ground
Memories
Reality
Congealed
Past
Graveyards
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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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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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Visiting a museum is a matter of going from void to void.
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Nature is never finished.
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As long as cameras are around no artist will be free of bewilderment.
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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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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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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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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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Mistakes and dead-ends often mean more to these artists than any proven problem
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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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Art history is less explosive than the rest of history, so it sinks faster into the pulverized regions of time.
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Banal words function as a feeble phenomena that fall into their own mental bogs of meaning.
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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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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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Artists themselves are not confined, but their output is.
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For many artists the universe is expanding for some it is contracting.
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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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Museums are tombs, and it looks like everything is turning into a museum.
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The memory of what is not may be better than the amnesia of what is.
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