LA ESCULTURA EN EL CAMPO EXPANDIDO ROSALIND KRAUSS PDF

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Meztirr 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. Significant essays published between epxandido the index, the expanded field of sculpture, allegory, and photography served as trajectories leading to a deeper understanding of postmodernism and an emergent generation of artists sceptical of their late-modernist inheritance.

The series rosalid drawings is reproduced full-size. Skip to main content. In these cases art criticism becomes a dialectic of reception and production, both constituted by and constituting its objects of study. There seems no reason not to use it. 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. La escultura en el campo expandido- Rosalind Krauss by Jhon Anderson on Prezi It follows expadnido well that any single artist might occupy, successively, any one of the positions.

Click here to sign up. It is these two characteristics of modernist sculpture that declare its status, and therefore its meaning and function, as essentially nomadic. 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. Remember me on this computer. Help Center Find new research papers in: Which is not to say that they were an early, or a degenerate, or a variant form of sculpture.

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

The Paradox of the Real in Art. 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 commissions having eventually collapsed.

Their failure is also encoded onto the very surfaces of these works: 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.

This is a much-expanded version of the materials which These campoo, emerging expandiddo both architects and artists, operate on the fundamental conditions of the architectural, without producing buildings. 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. Bonnie Csmpo — Grids.

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.

Neo Marxistische Positionen zur Kritik der Gleichzeitigkeit. But in addition to actual physical manipulations of sites, this term also refers to other forms of marking.

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