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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
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
Longer
Sculpture
Century
Representation
Values
Placed
Artist
Ideal
Social
Ideals
Political
Finished
Reinforcing
Past
Thus
Absorbed
Work
Garden
Gardening
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The memory of what is not may be better than the amnesia of what is.
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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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Museums are tombs, and it looks like everything is turning into a museum.
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Parks are idealizations of nature, but nature in fact is not a condition of the ideal.
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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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As long as cameras are around no artist will be free of bewilderment.
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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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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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Nature does not proceed in a straight line, it is rather a sprawling development.
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Nature is never finished.
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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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Artists are expected to fit into fraudulent categories.
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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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Language should be an ever developing procedure and not an isolated occurrence.
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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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An emotion is suggested and demolished in one glance by certain words.
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