Recording Conceptual Art: Early Interviews with Barry, Huebler, Kaltenbach, Lewitt, Morris, Oppenheim, Siegelaub, Smithson, and Weiner

By Alexander Alberro; Patricia Norvell | Go to book overview

8
ROBERT SMITHSON
JUNE 20, 1969

ROBERT SMITHSON: I think, perhaps, an interesting thing to start with would be the whole notion of the object, which I consider to be a mental problem rather than a physical reality. [Pause] An object to me is a product of thought, you know. It doesn't necessarily signify the existence of art. So that I would say that objects are about as real as angels are real. So that I can't accept that as a category. Mainly, you're confronted with art, and my view of art springs from a dialectical position that deals with, I guess, whether or not something exists or doesn't exist. Those two areas, those two paths—the existent and the nonexistent.

The pieces that I did in the Yucataacuten were nine mirror displacements [see figures 27–35]. What I did was I took twelve mirrors down to the Yucataacuten with me. We flew to Mérida and rented a car and then drove down the peninsula. And along the way I selected various sites. I'm more interested in the terrain dictating the condition of the art rather than having the art just plunked down on the ground. So that the actual contours of the ground determine the placement of the twelve mirrors. For instance, the first site was a burned-out field that consisted of ashes and small heaps of earth and charred stumps. Then I picked a place, then placed the mirrors directly into the ground. Stuck them in so that the mirrors reflected the sky. I was dealing, in a sense, with actual color as opposed to paint.

-124-

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