Site-Specific Art Quotes

Just as the development of earth art and installation art stemmed from the idea of taking art out of the galleries, the basis of my involvement with public art is a continuation of wall drawings.

I was one of the first post-studio artists. I used to do my works in the streets. I used to find them in the streets, and I used to leave them in the streets.

At Roden Crater, I was interested in taking the cultural artifice of art out into the natural surround. I wanted the work to be enfolded in nature in such a way that light from the sun, moon and stars empowered the spaces. I wanted to bring culture to the natural surround as if one was designing a garden.

Find the most puzzling kind of art you can think of, and then go out and try to approximate it with your camera. Take a photograph that corresponds to it. (Assignment to students.)

You are an artist. What work of art will you leave behind?

My first reaction to finding Robert Smithson's Spiral Jetty in a book was, Wow, what a great photograph! I could not believe that someone had gone to so much trouble just to end up with a picture.

Performance art can involve the audience with taste, smell and sounds not available with electronic media and not practical with conventional theater. This is due to the usually small audience.

The theatre, like the fresco, is art fitted to its place. And therefore it is above all else the human art, the living art.

I'm in favor of an art that does something other than just sit on its ass in a museum.

I'd been to Stourhead and was inspired by the perfect parity between architecture and art; in fact, the architecture is the art. I wrote a piece called 'Not Sculpture Park,' because most of these things become car parks for bought-in sculpture. The artists should be working with the site, not just plonking pieces down.

I have a passion for modern and contemporary art.

Consult the genius of the place, that paints as you plant, and as you work.

I like to produce work for specific places, and it is difficult to do repeat shows in the same space.

We have created indoor installations inside museums, like the Wrapped Floor at the Museum of Contemporary Art in Chicago in 1968, and not monumental at all by any standards.

I'm trying to expand the notion of curating. Exhibitions need not only take place in galleries, need not only involve displaying objects. Art can appear where we expect it least.

I am not a performer but occasionally I deliberately work in a public context. Some sculptures need the movement of people around them to work.

But I'll try to immerse myself in as many of the formal characteristics of site as possible in the landscape.

I was interested in making work that physically changed as it circulated through the art world.