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Banal words function as a feeble phenomena that fall into their own mental bogs of meaning.

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
Feeble
Corny
Phenomena
Mental
Function
Meaning
Words
Bogs
Fall
Banal

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The memory of what is not may be better than the amnesia of what is.
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Parks are idealizations of nature, but nature in fact is not a condition of the ideal.
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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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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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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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Mistakes and dead-ends often mean more to these artists than any proven problem
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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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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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Nature does not proceed in a straight line, it is rather a sprawling development.
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Abstraction is everybody's zero but nobody's nought.
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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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Visiting a museum is a matter of going from void to void.
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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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Nature is never finished.
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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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As long as cameras are around no artist will be free of bewilderment.
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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 themselves are not confined, but their output is.
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