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.
|Published (Last):||7 July 2006|
|PDF File Size:||14.64 Mb|
|ePub File Size:||15.78 Mb|
|Price:||Free* [*Free Regsitration Required]|
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.
Sculpture is rather only one term on the periphery of a field in which there are other, differently structured possibilities. These installations, emerging from both architects and artists, operate on the fundamental conditions of the architectural, without producing buildings.
Remember me on this computer. This is because these terms express a strict opposition between the built and the not-built, the cultural and the natural, between which escuotura production of sculptural art appeared to be suspended.
Through its fetishization of the base, the sculpture reaches downward to absorb the pedestal into itself and away from actual place; and through the eecultura of its own materials or the process of its construction, the sculpture depicts its own autonomy.
In order to name this historical rupture and the structural transformation kauss the cultural field that characterizes it, one must have recourse to another term. That is, the not-architecture is, according to the logic of a certain kind expzndido expansion, just another way of expressing the term landscape, and the not-landscape is, simply, architecture.
La escultura en el campo expandido- Rosalind Krauss by Jhon Anderson on Prezi
Because it was ideologically prohibited, the complex had remained excluded from what might be called the closure of post-Renaissance art. Which is not to say that they were an early, or a degenerate, or a variant form of sculpture. Sculpture, it could be said, had ceased being a positivity, and was now the expancido that resulted from the addition of the not- landscape to the not-architecture.
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.
It is these two characteristics of modernist sculpture that declare its status, and rosalin its meaning and function, as essentially nomadic. Skip expandkdo main content.
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. Similarly, the possible combination of landscape and not-landscape began to be explored in the late s.
But in addition to actual physical manipulations of sites, this term also refers to other forms of marking. 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.
Log In Sign Up. Click here to sign up. There seems no reason not to use it. So our diagram is filled in as follows: Enter the email address you signed up with and we’ll email you a reset krahss. 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. The Sculpture in the Expanded Field.
Corpus Delicti / Rosalind Krauss
But to think the complex is to admit into the realm of art two terms that had formerly been prohibited from it: 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. Sculpture in the Expanded Field, en: 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 space.
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 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.
It follows as well that any single artist might occupy, successively, any one of the positions. 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.
Their purpose and pleasure is exactly that they are opposite and different. Smithson’s Mirror Displacements in expsndido Yucatan escultra probably the first widely known instances of this, but since then the work of Richard Long and Hamish Fulton has expaniddo on the photographic experience of marking. 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.
It follows, then, that within any one of the positions generated by the given logical space, many different mediums might be employed. In with the observatory he built in wood and sod in Holland, Robert Morris had joined him.
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 expancido and largely self-referential. It is organized instead rrosalind the universe of terms that are felt to be in opposition within a cultural situation.
Because as we can see, sculpture is no longer the privileged middle term between two things that it isn’t. The first were commissioned in as the doors to a 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.
And once this has happened, once one is able to think one’s way into this esciltura, 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.
The purest examples that come to mind from the early rosaoind are both by Robert Morris. The one already in use in other areas of criticism is postmodernism. For, if those terms rosaind the expression of a logical opposition stated as a pair of negatives, they can be transformed by a simple inversion kdauss the same polar opposites but expressed positively.
In this sense sculpture had entered the full condition of its inverse logic and had become pure negativity: 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 on the outer limits of those terms of exclusion. Rodin’s Gates of Hell and his statue of Balzac were both conceived as monuments.
Their failure is also encoded onto the very surfaces of these works: 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.
Over the cam;o 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 capo a new and expanding network of relations between the domains of architecture, sculpture, interiors and landscape.