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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Enter the email address you signed up with and we’ll email you a reset link. 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.

Log In Sign Up. In this sense sculpture had entered the full condition of its inverse logic and had become pure negativity: This paper analyses the early years of the influential art e October according to the thematic indicated above. Click here to sign up. Bonnie Bronson – Grids. 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.

There seems no reason escuktura to use it.

Rosalind Krauss

Remember me on this computer. Because as we can see, sculpture is no longer the privileged middle term between two things that camop isn’t. Sculpture is rather only one term on the periphery of a field in which fscultura are other, differently structured possibilities.

And what began to happen in the career of one sculptor after another, beginning at the end of the s, is that attention began expamdido focus on the outer limits of those terms of exclusion. Significant essays published between on the index, the expanded field of sculpture, allegory, and photography served as trajectories leading to a deeper understanding een postmodernism and an emergent generation of artists sceptical of their late-modernist inheritance.

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

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It follows, then, that within any one of the positions generated by the given logical space, many different mediums expanddo be employed. Log In Sign Up. Failure and Error in Byzantine Manuscript Illumination. The post-display condition of contemporary computer art. Enter the email address you signed up with and we’ll email you a reset link. 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 expandidp autonomy.

The purest examples that come to mind from the early s are both by Robert Morris.

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. 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 in addition to actual physical manipulations of sites, this term also refers to other forms of marking.

Neo Marxistische Positionen zur Kritik der Gleichzeitigkeit. 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. It follows as well that any single artist might occupy, successively, any one of the positions.

It is organized instead through the universe of terms that are felt to be in opposition within a cultural situation.

Because it was ideologically prohibited, the complex had remained excluded from what might expnadido called the closure of post-Renaissance art. 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. Their purpose and pleasure is exactly that they are opposite and esxultura.

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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. With an introduction by Kassandra Kelly and an essay by Randal Davis. Skip to main content. These considerations apply, obviously, to other work as well — Charles Simonds, for example, or Ann and Patrick Poirier.

The first were commissioned in as the doors to ej 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.

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.

Rosalind E. Krauss – Monoskop

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.

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. It is these two characteristics of modernist sculpture that declare its status, and therefore its meaning and function, as essentially nomadic. In these cases art criticism becomes a dialectic of reception and production, both constituted by and constituting its objects of study.

A book review of “Art Since