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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
Long
Bewilderment
Cameras
Free
Artist
Around

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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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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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Museums are tombs, and it looks like everything is turning into a museum.
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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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Visiting a museum is a matter of going from void to void.
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Language should be an ever developing procedure and not an isolated occurrence.
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The memory of what is not may be better than the amnesia of what is.
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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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Artists are expected to fit into fraudulent categories.
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Nature is never finished.
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Banal words function as a feeble phenomena that fall into their own mental bogs of meaning.
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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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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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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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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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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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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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Mistakes and dead-ends often mean more to these artists than any proven problem
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The museum spreads its surfaces everywhere, and becomes an untitled collection of generalizations that mobilize the eye.
Robert Smithson