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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The purest examples that come to mind from the early s are both by Robert Morris. Log In Sign Up. The series of drawings is reproduced full-size. There seems no reason not to use it. Which is to say one enters modernism, since it is the modernist period of krasus production that operates in relation to this loss e site, producing the monument as abstraction, the monument as pure marker or base, functionally placeless and largely self-referential.

Skip to main content. But to think the complex is to admit into the realm of art two terms that had formerly been prohibited from it: It is organized instead through the universe of terms that are felt to be in opposition within a cultural situation.

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 follows as well that any single artist might occupy, successively, any one of the positions. 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.

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. With an introduction by Kassandra Kelly and an essay by Randal Davis.

This paper analyses the early years of the influential art journal October according to the thematic indicated above. It follows, then, that within any one of the positions generated by the given logical space, many different mediums might be employed. It is these two characteristics of modernist sculpture that declare its status, and therefore its meaning and function, as essentially nomadic. Bonnie Bronson – Grids. Their purpose and pleasure is exactly that they are opposite and different.


Our culture had not before been able to think the complex, although other cultures have thought this term with great ease.

Skip to main content. Over the last three decades, the blurred boundaries between art and architecture have generated a series of 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.

Their failure is also encoded onto the very surfaces of these works: 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 with the observatory he built in wood and sod in Holland, Robert Morris had joined him. 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.

Rodin’s Gates krzuss Hell and his statue of Balzac were both conceived as monuments. Failure and Error in Byzantine Manuscript Illumination. Sculpture in the Expanded Field, en: In this sense sculpture had entered the full condition of its inverse logic and had become pure negativity: 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.

Similarly, the possible combination of landscape and not-landscape began to be explored in the late s. Remember me on this computer.

Rosalind Krauss

In every esculhura 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. 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.

Because as we can see, sculpture is no longer the privileged middle term between two things that it isn’t. 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.


Because it was ideologically prohibited, the complex had remained excluded from what might be called the escultua of post-Renaissance art.

Enter the email address you signed up with and we’ll email you a reset link. Bywith the Partially Buried Woodshed at Kent State University, in Ohio, Robert Smithson had begun to occupy the sn axis, which for ease of reference I eecultura calling site-construction.

The Paradox of the Real in Art. The one already roszlind use in other areas of criticism is postmodernism. The Sculpture in the Expanded Field. But in addition to actual physical manipulations of sites, this term also refers to other forms of marking.

Rosalind E. Krauss – Monoskop

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 ls on the original sites —both commissions having eventually collapsed.

So our diagram is filled in as follows: With these two sculptural projects, I would say, ezcultura crosses the threshold of the logic of the monument, entering the space of what could be called its negative condition —a kind of sitelessness, ls homelessness, an absolute loss of place. 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.

Sculpture is rather only one term on le periphery of a field in which there are other, differently structured possibilities. These considerations apply, obviously, to other work as well — Charles Simonds, for example, or Ann and Patrick Poirier. A monograph reproducing a series by Bonnie Bronson of 10 small mixed-media drawings from the middle s.