ESCULTURA CAMPO EXPANDIDO ROSALIND KRAUSS PDF

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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They were part of a universe or epandido space in which sculpture was simply another part —not somehow, as our historicist minds would have it, the same. There seems no reason not to use it.

Corpus Delicti / Rosalind Krauss

Our culture had exapndido before been able expandudo think the complex, although other cultures have thought this term with great ease. Their purpose and pleasure is exactly that they are opposite and different.

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.

These considerations apply, obviously, to other work as well — Charles Simonds, for example, or Ann and Patrick Poirier. Log In Sign Up.

La escultura en el campo expandido- Rosalind Krauss by Jhon Anderson on Prezi

The Sculpture in the Expanded Field. It is organized instead through the universe of terms that are felt to be in opposition within a cultural situation. In with the observatory he built in wood and sod in Holland, Robert Morris had joined him. So our diagram is filled in as follows: 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.

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This is because these terms express a strict opposition between rosalnid built and the not-built, the cultural and the natural, between which the production of sculptural art appeared to be suspended. 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.

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. Because it was ideologically prohibited, the complex had remained excluded from what might be called the closure of post-Renaissance art. In this sense sculpture had entered the full condition of its inverse logic and had become pure negativity: Similarly, the possible combination of landscape and not-landscape began to be explored in the late s.

The one already in use in other areas of criticism is postmodernism. Skip to main content. In order to name this historical rupture and the mrauss transformation of the cultural field that characterizes it, one must have recourse to another term.

Rosalind E. Krauss – Monoskop

Which is to say one enters modernism, since it is the modernist period rsoalind 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. 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 escjltura the early s are both by Robert Morris. 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.

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But whatever krxuss medium employed, the possibility explored in this category is a process expancido mapping the axiomatic features of the architectural experience —the abstract conditions of openness and closure— onto the reality of a given space.

Rodin’s Gates of Hell and his statue of Balzac were both conceived as monuments. Enter the email address you signed up with and we’ll email you a reset link.

Sculpture in the Expanded Field, en: 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 kdauss the outer limits of those terms of exclusion. Sculpture is rather only one term on the periphery of a field in which there are other, differently structured possibilities. It follows as well that any single artist might occupy, successively, any expajdido of the positions.

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. 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 expandiod depicts its own autonomy.