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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Rosalind Krauss Research Papers –

Ads help cover our server costs. 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. Sculpture in the Expanded Field, en: But whatever the medium employed, the possibility explored in this category is a process of mapping the axiomatic features of the rscultura experience —the expandiido conditions of openness and closure— onto the reality of a given space.

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. 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.

Our culture had not krzuss been able to think the complex, although other cultures have thought this term with great ease. Which is not to say that they were an early, or a degenerate, or a variant form of sculpture. But to think the complex is to admit into the realm of art two terms that had formerly been prohibited from it: One is the work exhibited camoo 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 and trees, they are not in fact part le the landscape.

Significant essays published between on the index, the expanded field of sculpture, ex;andido, and photography served as trajectories leading to a deeper understanding of postmodernism and an emergent generation of artists sceptical of their late-modernist inheritance. Rosalin, the possible combination of landscape and not-landscape began to be explored in the late s. Studi sull’immagine in movimento.


This is a much-expanded version of the materials which accompanied the initial exhibition, inof this series of work. These installations, emerging from both architects and artists, operate on the fundamental conditions of the architectural, without producing buildings.

Help Center Find new research papers in: Failure and Error in Byzantine Manuscript Illumination. These considerations apply, obviously, to other work as well — Charles Simonds, for example, or Ann and Patrick Poirier.

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. In these cases art criticism becomes a dialectic of reception and production, both constituted by and constituting its objects of study. Because as we can see, sculpture is no longer the privileged middle term between two things that it isn’t.

Bonnie Bronson – Grids. Escultura em Campo Ampliado – Rosalind Krauss.

The purest examples that come to mind from the early s are both by Robert Morris. 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. Sculpture is rather only one term on the periphery of a field in which krausw are other, differently structured possibilities.

They were part of a universe or cultural space in which sculpture was simply roaslind part —not somehow, as our historicist minds would have it, the same. The post-display condition of contemporary computer art.

Rosalind Krauss

There seems no reason not to use it. Rodin’s Gates of Hell and his statue of Balzac were both conceived as monuments. Remember me on this computer. 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.

Because it was ideologically prohibited, the complex had remained excluded from what might be called the closure of post-Renaissance art. Remember ep on this computer. 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.

A book review of “Art Since 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.


Click here to sign up. 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. It follows as well that any single artist might occupy, successively, any one of the positions. It is these two characteristics of modernist sculpture that declare its status, and therefore its meaning and function, as essentially nomadic. Log In Sign Up. In with the observatory he built in wood and sod in Holland, Robert Morris had joined him.

Neo Marxistische Positionen zur Kritik der Gleichzeitigkeit. 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. Adorno en de dialectiek van de beeldende kunsten. Enter the email address you signed up with and we’ll email you a reset link. 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.

The one already in use in other areas of criticism is postmodernism. 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.

Skip to main content. Help Center Find new research papers in: 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. 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.