EL CAMPO EXPANDIDO ROSALIND KRAUSS PDF

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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However, even though he isolated buildings like Palladio’s Villa Malcontenta and Le Corbusier ‘s Ville Stein from their context by operating a close reading of their compositions, Rowe’s formalist theories show more unusual and inter-disciplinary connections than is usually supposed.

Rosalind krauss pasajes de la escultura moderna pdf

Kant wrote about genius, as did Modernists such as Fry or Greenberg — whereas, we are all post-Kantian now. Colonial and Counter-Colonial Design Methodologies: 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 organized instead through the universe of terms that are felt to be in opposition within a cultural situation. Discover book depositorys huge selection of rosalindkrauss books online. In this sense sculpture had entered the full condition of its inverse logic and had become pure negativity: Because as we can see, sculpture is no longer the privileged middle term between two things that it isn’t.

Snac is a discovery service for persons, families, and corporations found within archival collections at cultural heritage institutions. Their failure is also encoded onto the very surfaces of these works: Any building can be studied from different point of views: Rosalind krauss a escultura em campo expandido pdf.

Krauss 1 edition first published in explosantefixe by rosalind e. Click here to sign up. More than thirty years after Rosalind Krauss published her critique of originality in the October journal, the pursuit of a workable concept of genius might seem like a pointless task. In the latter half of the s Smithson, for his part, often revelled in images and experiences that polemically exploded what he viewed as the facile anthropocentrism of gestalt perception.

Yet, these two dimensions of critical interpretation are not mutually exclusive. 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.

Click here to sign up. Il filosofo afferma al contrario dei due curatori che l’informe “n’est pas refus de la forme”.

What is the meaning of this fascinating attribute she is holding in her hand? Con un modo diverso, Georges Didi-Huberman parte da un postulato diverso.

First of all, we know that the work of the architect has always profited from external disciplinary contents enabling the generation of content.

Among all the arts — those children of pleasure and necessity in which man has participated to help him bear the trials of life and pass on his memory to future generations — one cannot deny that architecture must hold a most eminent place. Quindi, il filosofo si basa su un’interpretazione dall’inizio quasi opposta da quella adottata da Rosalind Krauss e Yves- Alain Bois.

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. 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.

Heteronomy and autonomy can coexist because they ultimately are different interpretations of a building, not design techniques. Sculpture in the Expanded Field, en: The Instrumentalization of Grids in the Public Interest. L’Informe di Georges Bataille – studio comparativo intorno a due visioni. So our diagram is filled in as follows: There seems no reason not to use it.

Rosalind Krauss

Krauss, passages in modern sculpture, the picasso papers, terminal iron works. Genius, despite its continual art market appeal has Such an ideological ideal krausz architecture is the core theoretical assumptions in the work of many theorists and historians and finds its roots the Kantian philosophy: Search for library items search for lists search for contacts search for a library.

Rosalind epstein krauss is an american art critic, art theorist and a professor at columbia university in new york city.

Sculpture in the Expanded Field de Rosalind Krauss. Even considered only from the point of usefulness, it surpasses all the other arts. Krauss is known for her expandjdo in 20thcentury painting, sculpture and photography.

Rosalind E. Krauss – Monoskop

It ensures to the salubrity of cities, guards the health of men, protects their properties, and works only for the safety, repose and orderliness of civic life. At its centre was the notion of the gestalt.

Motif, Symbol, Hermeneutics, in Textile. On ‘Reinventing the Medium’ ‘. 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.

Then, in order to deeply understand ” autonomy “it is necessary to deal with the ” problem of embodiment “derived from the theory of translation: It is these two characteristics of modernist sculpture that declare its status, and therefore its meaning and function, as essentially nomadic.

But to think the complex is to admit into the realm of art two terms that had formerly been prohibited from it: Our culture had not before been able to think the complex, although other cultures have thought this term with great ease. From this point of view, language is by itself a form of knowledge that gives architecture its right of existence. 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.

Ads help cover our server costs. But in addition to actual physical manipulations of sites, this term also refers to other forms of marking. This brings me to a wider scope on sieves and sieving in art history and anthropology. The Silent Space of the Vacuum. Skip to main content.