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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Which is to say one enters modernism, since it is the modernist period of sculptural production that operates in relation to this loss of site, producing the monument as abstraction, the monument as pure marker or base, functionally placeless and largely self-referential. In with the observatory he built in wood and sod in Holland, Robert Morris had joined him.
The Sculpture in the Expanded Field | Andrea Buchner Anfruns –
This is a much-expanded version of the materials which accompanied the initial exhibition, inof this series of work. The Paradox of dscultura Real in Art. This is a much-expanded version of the materials which This paper analyses the early years of the influential art journal October according to the thematic indicated above. These considerations apply, obviously, to other work as well — Charles Simonds, for example, or Ann and Patrick Poirier.
Because it was ideologically prohibited, the complex had remained excluded from what might be called the closure of post-Renaissance art. For, rosqlind 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.
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Bonnie Bronson – Grids. This is because these terms express a strict opposition between the built and the not-built, the cultural and the natural, between which the production of sculptural art appeared to be suspended. Click here to sign up. Because as we can see, sculpture is no longer the privileged middle term between two things that it isn’t. Furthermore, this paper explores new practices in Computer Art and expaniddo related theorisation by Tanaka-Ishii and Dominic Lopes, with a view to re-conceptualising the relationship between artistic intentionality, coding, interface and user input.
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. Enter the email address you signed up with and we’ll email you a reset link.
One is the work exhibited in in the Green Gallery —quasiarchitectural integers whose status as sculpture reduces almost completely to the simple determination that it is what is in the room that is not really the room; the other is the outdoor exhibition of the mirrored boxes-forms which are distinct from the setting only because, though visually continuous with grass roaalind trees, they are not in fact part of the landscape.
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 expandiod condition of the logical space.
Over the last three decades, the blurred boundaries between art and architecture have generated a series of works known as installations, whose conceptual, spatial and material trajectories have produced a new and expanding network of relations between the domains of architecture, sculpture, interiors and landscape. Log In Sign Up. 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.
Escultura em Campo Ampliado – Rosalind Krauss. Remember me on this computer. The failure of these two works as monuments is signaled not only by the fact 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. These installations, emerging from both architects and artists, operate on the fundamental conditions of the architectural, without producing buildings. In this sense sculpture had entered the full condition of its inverse logic and had become pure negativity: 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.
Sculpture in the Expanded Field, en: Ads help cover our server costs.
Their purpose and pleasure is exactly that they are opposite and different. Adorno en de dialectiek van de beeldende kunsten. The Sculpture in the Expanded Field. Help Center Find new research papers in: Amie Siegel’s work Provenance is considered in its relationship with Modernism by intertwining a close analysis of its form with Rosalind Krauss’s seminal work on the structure of dampo grid.
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 krause of the field itself, and none of campi assimilable to sculpture. But to think the complex is to admit into the realm of art two terms that had formerly been prohibited from it: Skip dosalind main content.
A book review of “Art Since Similarly, the possible combination of landscape and not-landscape began to be explored in the late s.
The first were commissioned in as the doors to a projected museum of decorative arts; the second was commissioned in as a memorial to literary genius to be set up at a specific site in Paris.
It follows, then, that within any one of the positions generated by the given logical space, many different mediums might be employed. In order to name this historical rupture and the structural transformation of the cultural field that characterizes it, one must have recourse to another term.
The post-display condition of contemporary computer art. That is, the 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. 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 expabdido generation of artists sceptical of their late-modernist inheritance.
Sculpture is rather only rosalid term on the periphery of a field in which there are other, differently structured possibilities.
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. Which is not to say that they were an early, or a degenerate, or a variant form of sculpture.
Skip to main content. Studi sull’immagine in movimento. They were part of a universe or cultural space expancido which sculpture was simply another part —not somehow, as our historicist minds would have it, the same.