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As long as cameras are around no artist will be free of bewilderment.

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
Bewilderment
Cameras
Free
Artist
Around
Long

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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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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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The memory of what is not may be better than the amnesia of what 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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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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Visiting a museum is a matter of going from void to void.
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Artists themselves are not confined, but their output is.
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Nature is never finished.
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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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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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For many artists the universe is expanding for some it is contracting.
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Museums are tombs, and it looks like everything is turning into a museum.
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Art history is less explosive than the rest of history, so it sinks faster into the pulverized regions of time.
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Language should be an ever developing procedure and not an isolated occurrence.
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Artists are expected to fit into fraudulent categories.
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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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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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