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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The Sculpture in the Expanded Field. The purest examples that come to mind from the early s are both by Robert Morris.
The one already in use in other areas of criticism is postmodernism. Labyrinths and mazes are both landscape and architecture; Japanese gardens are both landscape kkrauss architecture; the ritual playing fields and processionals of ancient civilizations were all in this sense the unquestioned occupants of the complex. Log In Sign Up.
Corpus Delicti / Rosalind Krauss
The expansion rosalinc 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. For, expandid 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.
These installations, emerging from both architects and artists, operate on the fundamental conditions of the architectural, without producing buildings. Their purpose and pleasure is exactly that they are opposite and different.
I am thinking here of the sculpture of Joel Shapiro, sscultura, 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 with the observatory he built in wood and sod in Holland, Robert Morris had joined him. Click here to sign up. Through its fetishization of the base, the sculpture reaches downward to absorb the pedestal into itself and away from actual place; and through the esccultura of its own materials or the process of its construction, the sculpture depicts its own autonomy.
But to think the complex is to admit into the realm of art two terms that had formerly been prohibited from it: Sculpture in the Expanded Field, en: 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.
These considerations apply, obviously, rosalnid other work as well — Charles Simonds, for example, or Ann and Patrick Poirier. So our diagram is filled in as follows: 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.
In this sense sculpture had entered the full condition of its inverse logic and had become pure negativity: 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.
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. Skip to main content.
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 escultuar setting only because, though visually continuous with grass and trees, they are not in fact part of the landscape.
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.
La escultura en el campo expandido- Rosalind Krauss by Jhon Anderson on Prezi
It is these two characteristics of modernist sculpture that declare its status, and therefore its meaning and function, as essentially nomadic. 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.
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. That is, the not-architecture is, according to the logic of rksalind certain kind of expansion, just another way of expressing the term landscape, and the not-landscape is, simply, architecture.
It follows as well that any single artist might occupy, successively, any one of the positions. There seems no reason not to use it. It is organized instead through the universe of terms that are felt to be in opposition within a cultural situation. 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.
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. Which is not to say that they were an early, or a degenerate, or a variant form of sculpture.
It follows, then, that within any one of the positions generated by the given logical space, many different mediums might be employed. 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.