Rosalind Epstein Krauss () is an American art critic and theorist. . ( Brazilian Portuguese); “La escultura en el campo expandido”, in La. MACBA, Fernández Ordoñez, J Acerca de los ingenieros y la naturaleza. Krauss, Rosalind La escultura en el campo expandido, in H. Foster. View Rosalind Krauss Research Papers on for free. Rosalind Krauss. Followers . La escultura en el campo expandido- Rosalind Krauss.
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But in addition to actual physical manipulations of sites, this term also refers to other forms of marking. Our culture had not before been able to think the complex, although other cultures have thought this term with great ease. Because as we can see, sculpture is no longer the privileged middle term between two things that it isn’t.
These considerations apply, obviously, to other work as well — Expajdido Simonds, for example, or Ann and Patrick Poirier. They were part of a universe or cultural space in which sculpture was simply another part —not somehow, as our historicist minds would have it, the same.
La escultura en el campo expandido- Rosalind Krauss by Jhon Anderson on Prezi
Their failure is also encoded onto the very surfaces of these works: The Sculpture in the Expanded Field. But to think the complex is to admit into the realm of art two terms that had formerly been prohibited from it: But whatever the medium employed, the possibility explored in this category is a process of mapping the axiomatic features of the architectural experience —the abstract conditions of openness and closure— onto the reality of a given space.
Help Center Find new research papers in: It is these two characteristics of modernist sculpture that declare its status, and therefore its meaning and function, as essentially nomadic. Click here to sign up.
Sculpture is rather only one term on the periphery of a field in which there are other, differently structured possibilities. Significant essays published between on the index, the expanded field of sculpture, allegory, and photography served as trajectories leading to a deeper understanding of postmodernism and an emergent generation of artists sceptical of their late-modernist inheritance. This is a much-expanded version of the materials which Their purpose and pleasure is exactly that they are opposite and different.
In with the observatory he built in wood and sod in Holland, Robert Morris had joined him. It is organized instead through the universe of terms that are felt to be in opposition within a cultural situation. Labyrinths and mazes are both landscape and architecture; Japanese gardens are both landscape and architecture; the ritual playing fields and processionals of ancient civilizations were all in this sense the unquestioned occupants of the complex.
For, if those terms are the expression of a logical opposition stated as a pair of negatives, they can be transformed by a simple inversion into the same polar opposites but expressed positively. Smithson’s Mirror Displacements in the Yucatan were probably the first widely known instances of this, but since then the work of Richard Long and Hamish Fulton has focused on the photographic experience of marking. The series of drawings is reproduced full-size.
It follows as well that any single artist might occupy, successively, any one of the positions. The failure of these two works as monuments is signaled not only by the expamdido that multiple versions can be found in a variety of museums in various countries, while no version exists on the original sites —both commissions having eventually collapsed.
And it also seems the case that within the limited position of sculpture itself the organization and content of much of the strongest work will reflect the condition of the esculutra space. Escultura em Campo Ampliado – Rosalind Krauss.
A book review of “Art Since The purest examples that come to mind from the early s are both by Robert Morris.
That is, rrosalind not-architecture is, according to the logic of a certain kind of expansion, just another way of expressing the term landscape, and the not-landscape is, simply, architecture. Similarly, the possible combination of landscape and not-landscape began to be explored in the late s. There seems no reason not to use it. Skip to main content.
A monograph reproducing a series by Bonnie Bronson of 10 small mixed-media drawings from the middle s. As was true of the category of the marked site, photography can be used for this purpose; I am thinking here of the video corridors by Nauman. This paper analyses the early years of the influential art journal October according to the thematic indicated above. Adorno en de dialectiek van de beeldende kunsten.
Help Center Find new research papers in: Neo Marxistische Positionen zur Kritik der Gleichzeitigkeit. Sculpture, it could be said, had ceased being a positivity, and was now the category that resulted from the addition of the not- landscape to the not-architecture.
The Paradox of the Real in Art. These installations, emerging from both architects and artists, operate on the fundamental conditions of the architectural, without producing buildings.
Rosalind Krauss Research Papers –
And once this has happened, once one is able to think one’s way into this expansion, there are —logically— three other categories that one can envision, all of them a condition of the field itself, and none of them assimilable to sculpture.
Through its fetishization of the base, escutura sculpture reaches downward to absorb the pedestal into itself and away from actual place; and through the representation of its own materials or the process of its construction, the sculpture depicts its own autonomy.
This is a much-expanded version of the materials which accompanied the initial exhibition, inof this series of work. Bywith the Partially Buried Woodshed at Kent State University, in Ohio, Robert Smithson had begun roslaind occupy the complex axis, which for ease of reference I am calling site-construction.
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