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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A book review of “Art Since 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 the grid. 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. 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.
Bonnie Bronson – Grids. With these two sculptural projects, I would say, one crosses the threshold of the logic of the monument, entering the space of what could be called its negative condition —a kind of sitelessness, or homelessness, an absolute loss of place.
Bywith the Partially Buried Woodshed at Kent State University, in Ohio, Robert Smithson had begun to occupy the complex axis, which for ease of reference I am calling site-construction.
Rosalind Krauss Research Papers –
In every case of these axiomatic structures, there is some kind of intervention into the real space of architecture, sometimes through partial reconstruction, sometimes through drawing, or as in the recent works of Morris, through the use of mirrors. So our diagram is filled dxpandido as follows: Click here to sign up.
With an introduction by Kassandra Kelly and an essay by Randal Davis. 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.
The Sculpture in the Expanded Field | Andrea Buchner Anfruns –
Remember me on this computer. 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.
The Paradox of the Real in Art. Neo Marxistische Positionen zur Kritik der Gleichzeitigkeit.
Rodin’s Gates of Hell and his statue of Balzac were both conceived as monuments. Sculpture is rather only one term on the caampo of a field in which there are other, differently structured possibilities.
And expaniddo began to happen in the career of one sculptor after another, beginning at the end of the s, is that attention began to focus on the outer limits of those terms of exclusion. Because as we can see, sculpture is no longer the privileged middle term between two things that it isn’t.
But whatever the medium employed, the possibility explored in this category is a process of mapping the axiomatic features dampo the architectural experience —the abstract conditions of openness and closure— onto the reality of a given space. 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. Skip to main content.
Similarly, the possible combination of landscape and not-landscape began to be explored in the late s. The post-display condition of contemporary computer art. Log In Sign Up.
In these cases art criticism becomes a dialectic of reception and production, both constituted by and constituting its objects of study. The Sculpture in the Expanded Field.
Ads help cover our server costs. 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.
These installations, emerging from both architects and artists, operate on the fundamental conditions of the architectural, without producing buildings.
In with the observatory he built in wood and sod in Holland, Robert Morris had joined him. This paper analyses the early years of the influential art journal October according to the thematic indicated above. Through its fetishization of the base, the 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.
The purest examples that come to mind from the early s are both by Robert Morris. But in addition to actual physical manipulations of sites, this term also refers to other forms of marking. Help Center Find new research papers in: In this sense sculpture had entered the full condition of its inverse logic and had become pure negativity: 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.