A work of art when placed in a gallery loses its charge, and becomes a portable object or surface disengaged from the outside world.
Robert SmithsonRead
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
Interpretation
The juxtaposition of modern art in historical contexts alters its perception and cultural significance.
This quote highlights the relationship between art and its environment, suggesting that when contemporary sculptures are situated in historical settings, they are influenced by the existing cultural and political ideals of the past. This interplay not only transforms the way the modern work is perceived but also calls attention to the values and aesthetics of the era it inhabits, ultimately reflecting changes in societal norms and beliefs over time.
In practice
During an art exhibition, one might use this quote to discuss the impact of historical context on modern art.
A work of art when placed in a gallery loses its charge, and becomes a portable object or surface disengaged from the outside world.
Instead of causing us to remember the past like the old monuments, the new monuments seem to cause us to forget the future
The slurbs, urban sprawl, and the infinite number, of housing developments of the postwar boom have contributed to the architecture of entropy.
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.
How well I would write if I were not here!
A song has to take on character, shape, body and influence people to an extent that they use it for their own devices. It must affect them not just as a song, but as a lifestyle.
A great city, whose image dwells in the memory of man, is the type of some great idea. Rome represents conquest; Faith hovers over the towers of Jerusalem; and Athens embodies the pre-eminent quality of the antique world, Art.
One must act in painting as in life, directly.
At Sarah Lawrence, I realized that everybody was already what they were going to be. The painters were painting, the writers writing, the dancers dancing. And nobody wore any makeup. The art was uppermost.
I wish the stage were as narrow as the wire of a tighrope dancer so that no incompetent would dare step upon it.
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