Guess quote

Robert Smithson [1938-1973] American

Rank: 103
Artist

Robert Smithson was an American artist famous for his use of photography in relation to sculpture and land art.

Art, Nature, Architecture, Future, Gardening, History, Work

Quote	Tags	Rank
Cultural confinement takes place when a curator imposes his own limits on an art exhibition, rather than asking an artist to set his limits.	Art	101
A work of art when placed in a gallery loses its charge, and becomes a portable object or surface disengaged from the outside world.	Art, Work	102
Parks are idealizations of nature, but nature in fact is not a condition of the ideal.	Nature	103
Nature is never finished.	Nature	104
From the top of the quarry cliffs, one could see the New Jersey suburbs bordered by the New York City skyline.		105
Mistakes and dead-ends often mean more to these artists than any proven problem.		106
Artists themselves are not confined, but their output is.	Art	107
History is representational, while time is abstract; both of these artifices may be found in museums, where they span everybody's own vacancy.	History	108
Instead of causing us to remember the past like the old monuments, the new monuments seem to cause us to forget the future.	Future	109
Nature does not proceed in a straight line, it is rather a sprawling development.		110
Visiting a museum is a matter of going from void to void.		111
The museum spreads its surfaces everywhere, and becomes an untitled collection of generalizations that mobilize the eye.		112
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.		113
Objects in a park suggest static repose rather than any ongoing dialectic. Parks are finished landscapes for finished art .		114
Art history is less explosive than the rest of history, so it sinks faster into the pulverized regions of time.		115
Abstraction is everybody's zero but nobody's nought.		116
Painting, sculpture and architecture are finished, but the art habit continues.	Architecture	117
Artists are expected to fit into fraudulent categories.		118
Language should find itself in the physical world, and not end up locked in an idea in somebody's head.		119
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.	Gardening	120
Language operates between literal and metaphorical signification.		121
An emotion is suggested and demolished in one glance by certain words.		122
Language should be an ever developing procedure and not an isolated occurrence.		123
Art's development should be dialectical and not metaphysical.		124
The museums and parks are graveyards above the ground- congealed memories of the past that act as a pretext for reality.		125
History is a facsimile of events held together by finally biographical information.		126
Museums are tombs, and it looks like everything is turning into a museum.		201
Banal words function as a feeble phenomena that fall into their own mental bogs of meaning.		202
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.		203
Words for mental processes are all derived from physical things.		204
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.		205
The scenic ideals that surround even our national parks are carriers of a nostalgia for heavenly bliss and eternal calmness.		206
Language thus becomes monumental because of the mutations of advertising.		207
Questions about form seem as hopelessly inadequate as questions about content.		208

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