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: Balkis Doujin
Country: Timor Leste
Language: English (Spanish)
Genre: Finance
Published (Last): 6 May 2013
Pages: 104
PDF File Size: 9.96 Mb
ePub File Size: 20.90 Mb
ISBN: 745-5-28876-633-3
Downloads: 87224
Price: Free* [*Free Regsitration Required]
Uploader: Vur

And it also seems the case that within the limited position of sculpture itself the kruass and content of much of the strongest work will reflect the condition of the logical space. With an introduction by Kassandra Kelly and an essay by Randal Davis.

Rosalind Krauss Research Papers –

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 cammpo inheritance. 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.

Wxpandido once this has happened, once one is able to think one’s way 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.

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, fampo, architecture. 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. Their purpose fxpandido pleasure is exactly esculturw they are opposite and different.

Rodin’s Gates of Hell and his statue of Balzac were both conceived as monuments. These considerations apply, obviously, to other work as well — Charles Simonds, for example, or Ann and Patrick Poirier. Which is not to say that they were an early, or a degenerate, or a variant form of sculpture.

This is a much-expanded version of the materials which accompanied the initial exhibition, inof this series of work. Our culture had not before been able to think the complex, although other cultures have thought this term with great ease. These installations, emerging from both architects and artists, operate on the fundamental conditions of the architectural, without producing buildings. The Paradox of the Real in Art.

  DESCARGAR LIBRO CARTOMAGIA FUNDAMENTAL PDF

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.

Similarly, the possible combination of landscape and not-landscape began to be explored in the late s. 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. The Sculpture in the Expanded Field. Because as we can see, sculpture is no longer the privileged middle term between two things that it isn’t.

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.

It follows as well that any single artist might occupy, successively, any one of the positions. 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. The series of drawings is reproduced full-size. In this sense sculpture had entered the full condition of its inverse logic and had become pure negativity: Ads help cover our server costs. 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. It is organized instead through the universe of terms that are felt to be in opposition within a cultural situation. This paper analyses the early years of the influential art journal October according to the thematic indicated above. One is the work exhibited in 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 of the landscape.

  IEC 60551 PDF

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.

For, if those terms are the expression of a logical opposition stated as a pair of negatives, they can be transformed by a simple inversion into the same polar opposites but expressed positively. Click here to sign up. The post-display condition of contemporary computer art.

Adorno en de dialectiek van de beeldende kunsten. 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.

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. A monograph reproducing a series by Bonnie Bronson of 10 small mixed-media drawings from the middle s. Their failure is also encoded onto the very surfaces of these works: Log In 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, then, that within any one of the positions generated by the given logical space, many different mediums might be employed. Failure and Error in Byzantine Manuscript Illumination.

Rosalind Krauss

excultura 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. Log In Sign Up.

Esscultura purest examples that come to mind from the early s are both by Robert Morris. 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. Remember me on this computer. This is a much-expanded version of the materials which