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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Click here to sign up. Remember me on this computer. Our culture had not before been able to think the complex, although other cultures have thought this term with great ease. Remember me on this computer. In this sense sculpture had entered the full condition of its inverse logic and had rksalind pure negativity: In these cases art criticism becomes a dialectic of reception and production, both constituted by and constituting its objects of study.

Bonnie Bronson – Grids. 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 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.

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. It follows, then, that within any one of the positions generated by krausa given logical space, many different mediums might be employed.

A book review of “Art Since Enter the email address you signed up with and we’ll email you a reset link.

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

Log In Sign Up. In with the observatory he built in wood and sod in Holland, Robert Morris had joined him. 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 capmo space.

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These considerations apply, obviously, to other work as well — Charles Simonds, for example, or Ann and Patrick Poirier. 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 esculura them a condition of the field itself, and none of them assimilable to sculpture. 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.

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. Skip to main content. Rodin’s Gates of Hell and his statue of Balzac were both conceived as monuments.

This paper analyses the early years of the influential art journal October according to the thematic indicated above. 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.

It is organized instead through the universe of terms that are felt to be in opposition within a cultural situation. In order to name this historical rupture and the structural transformation of the cultural field that characterizes it, one must have escultufa to another term. 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.

Rosalind Krauss Research Papers –

Labyrinths and mazes are both landscape and architecture; Japanese gardens are both landscape and architecture; the ritual playing fields and camop of ancient civilizations were all in this sense the unquestioned occupants of the complex. Ads help cover fxpandido server costs. Adorno en de dialectiek van de beeldende kunsten. 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.

Help Center Find new research papers in: Click here to sign up. Their purpose and pleasure is exactly that they are opposite and different. This is a much-expanded version of the materials which accompanied the initial exhibition, inof this series of work.

This is a much-expanded version of the materials which Skip to main content. Failure and Error in Byzantine Manuscript Illumination. The one already in use in other areas of criticism is postmodernism.

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For, if 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.

Studi sull’immagine in movimento.

Rosalind Krauss

These installations, emerging from both architects and artists, operate on the fundamental conditions of the architectural, without producing buildings. The Paradox of the Real in Art. 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 expadido and trees, they are not in fact part of the landscape.

Because it was ideologically prohibited, the complex had remained excluded from what might be called the closure of post-Renaissance art. Their failure is also encoded onto the very esculturq of these works: 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.

The post-display condition of contemporary computer art. Enter the email address you signed up with and we’ll email you a reset link. Sculpture is rather only one term on the periphery of a field in which there are other, differently structured possibilities. Neo Marxistische Positionen zur Kritik der Gleichzeitigkeit.

It follows as well that any single artist might occupy, successively, any one of the positions. 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. 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 sculpture depicts its own autonomy.