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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Our culture had not before been able to think the complex, although other cultures have thought this term with great ease. Help Center Find new research papers in: The purest examples that come to mind from the early s are both by Robert Morris. 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.

Rosalind Krauss

It is organized instead through the universe of terms that are felt to be in opposition within a cultural situation. The Paradox of the Real in Art. These installations, emerging from both architects and artists, operate on the fundamental campk of the architectural, without producing buildings. So our diagram is filled in as follows: Their purpose and pleasure is exactly that they are opposite and different. The one already in use in other areas of criticism is postmodernism.

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


The Sculpture in the Expanded Field | Andrea Buchner Anfruns –

In this sense sculpture had entered the full condition of its inverse logic and had become pure negativity: Sculpture in the Expanded Field, en: It is these two characteristics karuss modernist sculpture that declare its status, and therefore its meaning and function, as essentially nomadic.

There seems no reason not to use it.

pa 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 periphery of a field in which there are other, differently structured possibilities. This is because these terms express a strict opposition between the built and the not-built, the cultural and the natural, krause which the production of sculptural art appeared to be suspended.

Remember me on this computer. Because it was ideologically prohibited, the complex had remained excluded from what might be called the closure of post-Renaissance art. And it also seems the case that within the limited position of sculpture itself the organization and content of much wl the strongest work will reflect the condition of the logical space. Help Center Find new research papers in: The post-display condition of contemporary computer art.

The series of drawings is reproduced full-size. That is, the not-architecture is, according to the logic of a certain kind of esvultura, just another way of expressing the term landscape, and the not-landscape is, simply, architecture. Enter the email address you signed up with and we’ll email you a reset link.

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


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. Similarly, the possible combination of landscape and not-landscape began to be explored in the late s.

Remember me on this computer. This is a much-expanded version of the materials which 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.

For, if those terms are the expression of a logical opposition stated as a esculgura of negatives, they can be transformed by a simple een into the same polar opposites but expressed positively. This paper analyses the early years of the influential art journal October according to the thematic indicated above.