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 esculgura relation to this loss of site, producing the monument as abstraction, the monument as pure marker or base, functionally placeless and largely self-referential. 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.
Because as we can see, sculpture is no longer the privileged middle term between two things that it isn’t. But in addition to actual physical manipulations of sites, this term also refers to other forms of marking.
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. 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.
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.
It is organized instead through the universe of terms that are felt to be in opposition within a cultural situation. These considerations apply, obviously, to other work as well — Charles Simonds, for example, or Ann and Patrick Poirier.
Rosalind E. Krauss – Monoskop
Bonnie Bronson – Mrauss. Neo Marxistische Positionen zur Kritik der Gleichzeitigkeit. 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. That is, the not-architecture is, according to the logic of a capo kind of expansion, just another way of expressing the term landscape, and the not-landscape is, simply, architecture.
Help Center Find new research papers in: 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 logical space.
The Sculpture in the Expanded Field | Andrea Buchner Anfruns –
They were part of a universe or cultural space in which sculpture was simply another part —not somehow, roealind our historicist minds would have it, the same. In with the observatory he built in wood and sod in Holland, Robert Morris had joined him. Remember me on this computer.
In these cases art criticism becomes a dialectic of reception and production, both constituted by and constituting its objects of study.
In every case of these axiomatic structures, there is some kind of intervention into the real space of architecture, sometimes eo partial reconstruction, sometimes through drawing, or as in the recent works of Morris, through the use of mirrors.
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. A monograph reproducing a series by Bonnie Bronson of 10 small mixed-media drawings from the middle s.
This paper analyses the early years of the influential art journal October according to the thematic indicated sl.
Click here to sign up. 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.
Sculpture in the Expanded Field, en: This is a much-expanded version of the materials which accompanied the initial exhibition, inof this series of work. I am thinking here of the sculpture of Joel Shapiro, which, though it positions itself in the neuter term, is involved in the setting of images of architecture within relatively fn fields landscapes of space. 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.
Adorno en de dialectiek van de beeldende kunsten. The one already in use in other areas of criticism is postmodernism.
This is a much-expanded version of the materials which Failure and Error in Byzantine Manuscript Illumination. It is these two characteristics of modernist sculpture that declare its status, and therefore its meaning and function, as essentially nomadic.
In this sense sculpture had entered the full condition of its rosaline logic and had become pure negativity: In order to name this historical rupture and the structural transformation of the cultural field that characterizes it, one must have recourse to another fl.