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.

Author: Akisar Tojamuro
Country: Jamaica
Language: English (Spanish)
Genre: Sex
Published (Last): 5 September 2013
Pages: 225
PDF File Size: 16.93 Mb
ePub File Size: 14.70 Mb
ISBN: 619-9-62684-365-2
Downloads: 93207
Price: Free* [*Free Regsitration Required]
Uploader: Arashigar

Log In Sign Up. Adorno en de dialectiek van de beeldende kunsten.

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.

The Sculpture in the Expanded Field. In this sense sculpture had entered the full condition of its inverse logic and had become pure negativity: It is these two characteristics of modernist sculpture that declare its status, and therefore its meaning and function, as essentially nomadic.

The Paradox of the Real in Art. 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.

The Sculpture in the Expanded Field | Andrea Buchner Anfruns –

Skip to main content. 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. Our culture had een before been able to think the complex, although other cultures have thought this term with great ease. With these two sculptural projects, I would say, one campp 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.

The post-display condition of contemporary computer art.

La escultura en el campo expandido- Rosalind Krauss by Jhon Anderson on Prezi

But to think the complex is to admit into the realm of art two terms that had formerly been prohibited from it: Because as we can see, sculpture is no longer the privileged middle term between two things that it isn’t. Remember me on this computer. Their failure is also encoded onto the very surfaces of these works: Similarly, the possible combination of landscape and not-landscape began to be explored in the kruass s.


Krayss me on this computer.

And what 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. Through its fetishization of the rosa,ind, 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.

Because it was ideologically prohibited, the complex had remained excluded from what might be called the closure of esciltura art. It is organized instead through the universe of terms that are felt to be in opposition within a cultural situation.

And it also seems the case that within the limited position of sculpture itself the organization and content of much of esculturz strongest work will reflect the 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. 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.

Rosalind Krauss

In with the observatory he built in wood and sod in Holland, Robert Morris had joined him. Labyrinths and mazes are both landscape and architecture; Japanese gardens are both landscape and architecture; the ritual playing camop and processionals of ancient civilizations were all in this sense the unquestioned occupants of the complex. With an introduction by Kassandra Kelly and an essay by Randal Davis. 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.


Ads help cover our server costs. Help Center Find new research papers in: Sculpture is rather only one term on the periphery of a field in which there are other, differently structured possibilities. The expansion to which I am referring is called a Klein group when employed mathematically and has various other designations, among them the Piaget group, when used by structuralists involved in mapping operations within the human sciences.

Help Center Find new research papers in: 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.

The one already in use in other areas of criticism is postmodernism. Their purpose and pleasure is exactly that they are opposite and different. 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.

These installations, emerging from both architects and artists, operate on the fundamental conditions of the architectural, without producing buildings.

Log In Sign Up. A book review of “Art Since Failure and Error in Byzantine Manuscript Illumination. Significant essays published between on the index, the expanded field of sculpture, allegory, and photography served as trajectories leading to exandido deeper understanding of postmodernism and an emergent generation of artists sceptical of their late-modernist inheritance.

In these cases art criticism becomes a dialectic of reception and production, both constituted by and constituting its objects of study.

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.