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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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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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Artists themselves are not confined, but their output is.
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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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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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Banal words function as a feeble phenomena that fall into their own mental bogs of meaning.
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Nature does not proceed in a straight line, it is rather a sprawling development.
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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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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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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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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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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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For many artists the universe is expanding for some it is contracting.
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Nature is never finished.
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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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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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Parks are idealizations of nature, but nature in fact is not a condition of the ideal.
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An emotion is suggested and demolished in one glance by certain words.
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