Rosalind krauss a escultura em campo expandido pdf. The originality of the avantgarde and other modernist myths, mit, Rosalind epstein krauss is an. parameters of photography taken as what Rosalind Krauss has recently called a . al object” (Roland Barthes, “The Structuralist Activity,” in Critical Essays, trans . Krauss, Rosalind: Sculpture in the Expanded Field, en: October, Vol. 8., Spring, , pp. Sinopsis Con el ensayo La escultura en el campo expandido.

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Any building can be studied from different point of views: Il filosofo afferma al contrario dei due curatori che l’informe “n’est pas refus de la forme”.

The paper discusses how such a revised notion of indeterminate genesis impacts our understanding of contemporary 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.

La escultura en el campo expandido- Rosalind Krauss by Jhon Anderson on Prezi

Paradoxically, originality is enacted in the creation of a structure that can only be repeated, more so, a structure which is riven by processes of representation from within.

Which is not to say that they were an early, or a degenerate, or a variant form of sculpture. And what began to happen kraauss 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. In this sense sculpture had entered the full condition of its inverse logic and had become capo negativity: These considerations apply, obviously, to other work as well — Charles Simonds, for example, or Ann and Patrick Poirier.


Quindi, il filosofo si basa su un’interpretazione dall’inizio quasi opposta da quella adottata da Rosalind Krauss e Yves- Alain Bois. The originality of the avantgarde and other modernist myths, mit, Enter the email address you signed up with and we’ll email you a reset link.

Rosalind Krauss

These architects benefit from external disciplinary contents that enable them to generate narratives and new architectural ideas.

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Sculpture in the Expanded Field, en: But to think the complex is to admit into the realm of art two terms that had formerly been prohibited from it: Journal of Cloth and Culture, 16, 1, A famous example of Rowe’s unconventional formalist reading of a building is the appropriation of concepts such as ” pictorialism ” and ” Collage “.

As noticed by Anthony Vidler, this idea of not architecture is analogous to Rosalind Krauss’ idea of a disciplinary ” expanded field “: The one already in use in other areas of criticism is postmodernism.

Still, this problem poses a key theoretical issue: Indeed, the particular compositional idea related to the concept of ” collage ” is used by Rowe as an interpretative model for architecture through which he tries to link the tridimensional nature of space the phenomenological experience of architecture.

Morris took this concept from Maurice Merleau-Ponty, whose Phenomenology of Perception presented the thesis that the fundamental way in which the world allows itself to be encountered is as a gestalt, a situation-specific relation that exceeds the sum of its parts. 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.

They forge connections between things like ideology and social organization where one falls into the wake of the other and expandico shaped in a way that is nearly invisible to the passing glance. Sculpture is rather only one term on the periphery of a field in which there are other, differently structured possibilities.


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Labyrinths and mazes are both landscape and architecture; Japanese krakss 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. 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.

L’Informe di Georges Bataille – studio comparativo intorno a due visioni. At its centre was the notion of the gestalt.

Rosalind krauss pasajes de la escultura moderna pdf

Such an ideological ideal of architecture is the core theoretical assumptions in the work of many theorists and historians and finds its roots the Kantian philosophy: Both the work and the title evoked the concept expandieo genius, indulging in its familiar narrative. Is this simply a tell-tale sign which proves Paik as one of those avant-garde artists- who poked their noses into virtually everything? Indeed, the sieve exhibits a wide range of symbolism that extends across kfauss history, philosophy, ethnology, psychoanalysis, and gender studies.

It follows, then, that within any one of the positions generated by the given logical space, many different mediums might be employed. Their failure is also encoded onto the very surfaces of these works: