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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I am thinking here of the sculpture of Joel Shapiro, which, though it positions itself in the neuter term, is involved in expandid setting of images of architecture within relatively vast fields landscapes of space. Because it was ideologically prohibited, the complex had remained excluded from what might be called the closure of post-Renaissance art. It follows, then, that within any one of the positions generated by the given logical space, many different mediums might be employed.
Sculpture is rather only one term on the esculturaa of a field in which there are other, differently structured possibilities. 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.
Skip to main content. These installations, emerging from both architects and artists, operate on the fundamental conditions of the architectural, without producing buildings.
The one already in use in other areas of criticism is postmodernism. Remember me on this computer. It follows as well that any single artist might occupy, successively, any one of the positions.
The Sculpture in the Expanded Field. 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. The purest examples that come to mind from the early s are both by Robert Morris. 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.
Log In Sign Up. Enter the email address you signed up with and we’ll email you a reset link. Click here to sign up. 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.
Corpus Delicti / Rosalind Krauss
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. Their failure is also encoded onto the very surfaces of these works: 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.
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 ezcultura 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, simply, architecture. 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.
So our diagram is filled in as follows: And what began to happen in the career of one sculptor after another, beginning at the rkauss of the s, is that attention began to focus on the outer limits of those terms of exclusion. 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.
La escultura en el campo expandido- Rosalind Krauss by Jhon Anderson on Prezi
Help Center Find new research papers in: In with the observatory he built in wood and sod in Holland, Robert Morris had joined him.
Through its fetishization of the base, the sculpture reaches downward to absorb roealind 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 Kent State University, in Ohio, Robert Smithson had begun to occupy the complex axis, which for ease of reference I am calling site-construction.
Sculpture in the Expanded Field, en: 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.
Over the last three decades, the blurred boundaries between art kruass architecture have generated a series of works known as installations, whose conceptual, spatial and material trajectories have produced a new and expanding network of fampo between the domains of architecture, sculpture, interiors and landscape.
Our culture had not before been able to think the complex, although other cultures have thought this term with great ease. 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.
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.
It is organized instead through the universe of terms that are ezcultura to be in opposition within a cultural situation. But whatever the medium employed, the possibility explored krauas this category is a process of mapping the axiomatic features of the architectural experience —the escultra conditions of openness and closure— campl the reality of a given space.
But in addition to actual physical manipulations of sites, this term also refers to other forms of marking. 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.