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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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.
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 expwndido. I am thinking here of the sculpture of Joel Shapiro, which, though it positions itself in the neuter term, is involved in the setting of images of architecture within relatively vast fields landscapes of esultura.
La escultura en el campo expandido- Rosalind Krauss by Jhon Anderson on Prezi
Fl 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. Studi sull’immagine in movimento.
Click here to sign up. The Sculpture in the Expanded Field. But to think the complex is to admit into the realm of art two terms that had formerly been prohibited from it: It follows as well that any single artist might occupy, successively, any one of the positions.
It follows, then, that within any one of the positions generated by the given logical space, many different mediums might be employed. This is a much-expanded expandixo of the materials which 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 them a condition of the field itself, and none of them assimilable to sculpture.
Similarly, the possible combination of landscape and not-landscape began to be explored in the late s.
Rosalind Krauss Research Papers –
There seems no reason not to use it. Their purpose and pleasure is exactly that they are opposite and different. So our diagram is filled in as follows: Because it was ideologically prohibited, the complex had remained excluded from what might be called the closure of post-Renaissance art.
These considerations apply, obviously, to other work as well — Charles Simonds, for example, or Ann and Patrick Poirier. 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.
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. 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 caampo of relations between the domains of architecture, sculpture, interiors and landscape.
It is these two characteristics of modernist sculpture that declare its status, and therefore its meaning and function, as essentially nomadic. Bonnie Bronson – Grids. In these cases art criticism becomes a dialectic of reception and production, both constituted by and constituting its objects of study.
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Escultura em Campo Ampliado – Rosalind Krauss. 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.
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 journal October according to the thematic indicated above. The one already in use in other areas of criticism is postmodernism.
The purest examples that come to mind from the early s are both by Robert Morris. Help Center Find new research expansido in: 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. These installations, emerging from both architects and artists, operate on the fundamental conditions of the architectural, without producing buildings. 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.