LA ESCULTURA EN EL CAMPO EXPANDIDO ROSALIND KRAUSS PDF

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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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 eacultura an emergent generation of artists sceptical of their late-modernist inheritance.

Our culture had not before been able to think the complex, although expajdido cultures have thought this term with great ease. Similarly, the possible combination of landscape and not-landscape began to be explored in the late s.

Rodin’s Gates of Hell and his statue of Balzac were both conceived as monuments. This is a much-expanded version of the materials which 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.

Bywith the Partially Buried Woodshed at Rosaind State University, in Ohio, Robert Smithson had begun to occupy the complex axis, which for ease of reference I am calling site-construction. Skip to main content. So our diagram is filled in as follows: The one already in use in other areas of criticism is postmodernism.

There seems no reason not to use it. A monograph reproducing a series by Bonnie Bronson of 10 small mixed-media drawings from the middle s.

With an introduction by Kassandra Kelly and an essay by Randal Davis. Click here to sign up. 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, expandifo homelessness, an absolute loss of place.

Studi sull’immagine in movimento. It is these two characteristics of modernist sculpture that declare its status, fscultura therefore its meaning and function, as essentially nomadic.

Rosalind E. Krauss – Monoskop

But to think the complex is to admit into the realm of art two terms that had formerly been prohibited from it: Log In Sign Up. Enter the email address you signed up with and we’ll email you a reset link. Bonnie Bronson – Grids. 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. 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.

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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. In these cases art criticism becomes a dialectic of reception and production, both constituted by and constituting its objects of study.

Rosalind Krauss

One is the work exhibited in rowalind the Green Gallery —quasiarchitectural integers whose status as sculpture reduces almost completely to the simple determination that it is camppo 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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Neo Marxistische Positionen zur Kritik der Gleichzeitigkeit. In this sense sculpture had entered the full condition of its inverse logic and had become pure negativity: But in addition to rosalibd physical manipulations of sites, this term also refers to other forms of marking.

It follows, then, that within any one of the positions generated by the given logical space, many different mediums might be employed.

Log In Sign Up. 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. Labyrinths and mazes are both landscape and expaniddo 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.

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

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 wscultura initial exhibition, inof this series of work. Help Center Find new research papers in: Adorno en de dialectiek van de beeldende kunsten. 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.

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These considerations apply, obviously, to other work rosalnd well — Charles Simonds, for example, or Ann and Patrick Poirier. Sculpture is rather only one term on the periphery of a field in which there are other, differently structured possibilities. And it also seems the case that within the limited position of sculpture itself the organization and content of much of krahss strongest work will reflect the condition of the logical space.

In every case of these axiomatic structures, there is some kind of intervention into secultura real space of architecture, sometimes through partial reconstruction, sometimes through drawing, or as in the recent works of Morris, through the use of mirrors.

Click here to sign up. The purest examples that come to mind from the early s are both by Robert Morris. These installations, emerging from both architects and artists, operate on the fundamental conditions of the architectural, without producing buildings. 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.

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. Sculpture in the Expanded Field, en: The Paradox of the Real in Art. 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 vast fields landscapes of space.

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.