LA ESCULTURA EN EL CAMPO EXPANDIDO ROSALIND KRAUSS PDF

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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

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.

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. 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.

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.

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. Their failure is also encoded onto the very surfaces of these works: Rodin’s Gates of Hell and his statue of Balzac were both conceived as monuments.

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

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Studi sull’immagine in movimento. The series of drawings is reproduced full-size. 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.

A monograph reproducing a series by Bonnie Bronson of 10 small mixed-media drawings from the middle s. This is because these terms express a strict opposition esculthra the built and the not-built, the cultural and the natural, between which the production of sculptural art appeared to be suspended.

Help Center Find new research papers in: 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.

Rosalond book review of “Art Since 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. But in addition to actual physical manipulations of sites, this edcultura also refers to other forms of marking.

Adorno en de dialectiek van de beeldende kunsten. Log In Sign Up. Ads help cover our server costs.

Escultura em Campo Ampliado – Rosalind Krauss. Which is not to say that they were an early, or a degenerate, or a variant form of sculpture.

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

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. This is a much-expanded version of the materials which accompanied the initial exhibition, inof this series of ecultura.

These installations, emerging from both architects and artists, operate on the fundamental conditions of the architectural, without producing buildings. The Sculpture in the Expanded Field. Enter the email address you signed up with and we’ll email you esccultura reset link.

Byesfultura 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. I am thinking rlsalind 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. Skip to main content. The post-display condition of contemporary computer art.

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Because it was ideologically prohibited, the complex had remained excluded from what might be called the closure of edcultura art. 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. This paper analyses the early years of the influential art journal October according to the thematic indicated above. Which is to say one enters modernism, since it is the modernist period of sculptural production that operates in relation to this loss escutlura site, producing the monument as abstraction, the monument as pure marker or base, functionally placeless and largely self-referential.

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Rosalind E. Krauss – Monoskop

The purest examples that come to mind from the early s are both by Robert Morris. This is a much-expanded version of the materials which With an introduction by Kassandra Kelly and an essay by Randal Davis.

There seems no reason not to use it. It follows as well that any single artist might occupy, successively, any one of the positions. 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.

Our culture had not before been able to think the complex, although other cultures have thought this term with great ease. Failure and Error in Byzantine Manuscript Illumination. 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.

So our diagram is filled in as follows: