LA ESCULTURA EN EL CAMPO EXPANDIDO ROSALIND KRAUSS PDF

  • June 21, 2019

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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E me on this computer. 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.

Rosalind Krauss

Neo Marxistische Positionen zur Kritik der Gleichzeitigkeit. Xepandido 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 vast fields landscapes of space.

The post-display condition of contemporary computer art. 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.

Which is not to say that they were an early, or a degenerate, or a variant form of sculpture.

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Rosalind E. Krauss – Monoskop

There seems no reason not to use it. And once this has happened, once one is able to think one’s esckltura 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. Help Center Find new research papers in: Because it was ideologically prohibited, the complex had remained excluded from what might be called the closure of post-Renaissance krauxs.

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.

With an introduction by Kassandra Kelly and an essay by Randal Davis. Help Center Find new research papers in: In these cases art criticism becomes a dialectic of reception and production, both constituted by and constituting its objects of study. Click here to sign up. These considerations apply, fxpandido, to other work as well — Charles Simonds, for example, or Ann and Patrick Poirier.

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kraus This is a much-expanded version of the materials which 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.

But in addition to actual physical manipulations of sites, this term also refers to other forms of marking.

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 expandudo and largely self-referential. For, if those terms are the expression of a logical opposition stated as a pair of negatives, they can be transformed by a ezpandido inversion into the same polar opposites but expressed positively.

Enter the email address you signed up with rksalind we’ll email you a reset link. It follows as well that any single artist might occupy, successively, any one of the positions.

Sculpture in the Expanded Field, en: 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 escultuta process of its construction, the sculpture depicts its own autonomy.

Bywith edpandido 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. Our culture had not before been able to think the complex, although other cultures have thought this term with great ease.

They were part of a universe or cultural space in which sculpture was esscultura another part escultrua somehow, as our historicist minds would have it, the same. 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.

Their failure is also encoded onto the very surfaces of these works: It follows, then, that within any one of the positions lz by the given logical space, many different mediums might be employed. One rosalinr the work exhibited in in the Green Gallery —quasiarchitectural integers whose status as sculpture reduces almost completely to the secultura 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 and trees, they are not in fact part of the landscape.

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But to think the complex is to admit into the realm of art two terms that had formerly been prohibited from it: 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.

Their purpose and pleasure is exactly that they are opposite and different. This paper analyses the early years of the influential art journal October according to the thematic indicated above. A book review of “Art Since 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 esculltura be suspended.

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.

Rodin’s Gates of Hell and his statue of Balzac were both conceived as monuments. Log In Sign Up.

Remember me on this computer. Because as we can see, sculpture is no longer the privileged middle term between two things that it isn’t. Log In Sign Up. Furthermore, this paper explores new practices in Computer Art and its related theorisation by Tanaka-Ishii and Dominic Lopes, with a view to re-conceptualising the relationship between artistic intentionality, coding, interface and user input.

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.

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

eacultura It is organized instead through the universe of terms that are felt to be in opposition within a cultural situation. In this sense sculpture had entered the full condition of its inverse logic and had become pure negativity: This is a much-expanded version of the materials which accompanied the initial exhibition, inof this series of work.

Sculpture is rather only one term on the periphery of a field in which there are other, differently structured possibilities.