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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.

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
Numbers
Contributed
Boom
Housing
Urban
Architecture
Sprawl
Infinite
Postwar
Number
Developments
Development
Entropy

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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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Artists are expected to fit into fraudulent categories.
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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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Mistakes and dead-ends often mean more to these artists than any proven problem
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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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Language should find itself in the physical world, and not end up locked in an idea in somebody's head
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For many artists the universe is expanding for some it is contracting.
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Parks are idealizations of nature, but nature in fact is not a condition of the ideal.
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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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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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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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As long as cameras are around no artist will be free of bewilderment.
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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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The museum spreads its surfaces everywhere, and becomes an untitled collection of generalizations that mobilize the eye.
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An emotion is suggested and demolished in one glance by certain words.
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