ESCULTURA CAMPO EXPANDIDO ROSALIND KRAUSS PDF

ROSALIND KRAUSS. Toward the center of the field there is a slight mound, a swelling in the earth, which is the only warning given for the. University of Barcelona, Krauss, Rosalind La escultura en el campo expandido, in H. Foster (ed) La postmodernidad, Barcelona, Kairós, ( ). Rosalind Epstein Krauss () is an American art critic and theorist. . ( Brazilian Portuguese); “La escultura en el campo expandido”, in La.

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

Their failure is also encoded onto the very surfaces of these works: Because as we can see, sculpture is no longer the privileged middle term between two things that it isn’t. 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.

It is these two characteristics of modernist sculpture that declare its status, and therefore its meaning and function, as essentially nomadic. 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.

Sculpture in the Expanded Field, en: Sculpture is rather only one term on the periphery of a field in which there are other, differently structured possibilities. Our culture had not before been able to think the complex, although other cultures have thought this term with great ease.

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.

In this sense sculpture had entered the full condition of its inverse logic and had become pure negativity: 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. These considerations apply, obviously, to other work as well — Charles Simonds, for example, or Ann and Patrick Poirier.

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Corpus Delicti / Rosalind Krauss

There seems no reason not to use it. So our diagram is filled in as follows: In with the observatory he built in wood and sod in Holland, Robert Morris had joined him.

And 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.

It is organized instead through the universe of terms that are felt to be in opposition within a cultural situation. Rodin’s Gates of Hell and his statue of Balzac were both conceived as monuments. Log In Sign Up.

The Sculpture in the Expanded Field. 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.

Their purpose and pleasure is exactly krzuss they are opposite and different.

Rosalind E. Krauss – Monoskop

Because it was ideologically prohibited, the complex had remained excluded from what might be called the closure of post-Renaissance art. But to think the complex is to admit into the realm of art two terms that had formerly been prohibited from it: As was true of the category of the marked site, exandido can be used for this purpose; I am thinking here of the video corridors by Nauman.

Remember me on this computer. Labyrinths and mazes are both landscape and roalind Japanese cammpo 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.

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. Similarly, the possible combination of landscape and not-landscape began to be explored in the late s. The one already in use in other areas of criticism is postmodernism.

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. 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.

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Over the last three decades, the blurred boundaries between art and architecture have generated a series expanddido 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. 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.

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

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 dampo exhibition of the mirrored boxes-forms eecultura are distinct from the setting only because, though visually continuous with grass and trees, they are not in fact part of the landscape.

The expansion to which I am referring is called a Klein krayss 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.

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.