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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Log In Sign Up. The Sculpture in the Expanded Field. Sculpture in the Expanded Field, en: Rodin’s Gates of Hell and his statue of Balzac were both conceived as monuments. 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.
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 kfauss having eventually collapsed. Their failure is also encoded onto the very surfaces of these works: With these two sculptural projects, I would say, esfultura 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.
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. It is these two characteristics of modernist sculpture that declare its status, and therefore its meaning and function, as essentially nomadic. 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.
The purest examples that come to mind from the early s are both by Robert Morris. 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 rosaind 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.
In this sense sculpture had entered the full condition of its inverse logic and had become pure negativity: 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. This is because these terms express a strict opposition rosallnd the built and the not-built, the cultural and the natural, between which the production of sculptural art appeared to be suspended. And what began to happen in the career of one sculptor after another, beginning at the escultur of the s, is that attention began to focus on the outer limits of those terms of exclusion.
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.
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.
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.
Rosalind E. Krauss – Monoskop
But to think the complex is to admit into the realm of art two terms that had formerly been prohibited from it: Because it was ideologically prohibited, the complex had remained excluded from what might be called the closure of post-Renaissance art.
Our culture had not before been able to think the complex, although other cultures have thought this term with great ease. 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.
Which is not to say that they were an early, or a degenerate, or a variant form of sculpture. 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. Their purpose and pleasure is exactly that they are opposite and different. 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.
Because as we can see, sculpture is no longer the privileged middle term between two things that it isn’t. Sculpture is rather only one term on the periphery of a field in which there are other, differently structured possibilities. So our diagram is filled in as follows: 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.
The one already in use in other areas of criticism is postmodernism.
There seems no reason not to use it. 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. In with the observatory he built in wood and sod in Holland, Robert Morris had joined him. Similarly, the possible combination of landscape and not-landscape began to be explored in the late s.
But in addition to actual physical manipulations esvultura sites, this term also refers to other forms of marking. Smithson’s Mirror Displacements in esculthra 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. 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.
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. But whatever the medium employed, the krausss 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.
It is organized instead through the universe of terms that are felt esculturaa be in opposition within a cultural situation.
Corpus Delicti / Rosalind Krauss
It follows, then, that within any one of the positions generated by the given logical space, many different mediums might be employed.
It follows as well that any single artist might occupy, successively, any one of the positions. And it also seems the case that within escltura limited position of sculpture itself the organization and content of much of the strongest work will reflect the condition of the logical space.
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. These considerations apply, obviously, to other work as well — Charles Simonds, for example, or Ann and Patrick Poirier.
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. These installations, emerging from both architects and artists, operate on the fundamental conditions of the architectural, without producing buildings. Remember me on this computer.
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