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Nature does not proceed in a straight line, it is rather a sprawling development.

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
Nature
Sprawling
Doe
Proceed
Straight
Line
Development
Lines
Rather
Artist

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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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The memory of what is not may be better than the amnesia of what is.
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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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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 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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Artists are expected to fit into fraudulent categories.
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Nature is never finished.
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Language should be an ever developing procedure and not an isolated occurrence.
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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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Museums are tombs, and it looks like everything is turning into a museum.
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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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As long as cameras are around no artist will be free of bewilderment.
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An emotion is suggested and demolished in one glance by certain words.
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Artists themselves are not confined, but their output is.
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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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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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Abstraction is everybody's zero but nobody's nought.
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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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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 museums and parks are graveyards above the ground- congealed memories of the past that act as a pretext for reality.
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