`Sculpture in the Expanded Field` Article Number

Running head: ‘SCULPTURE IN THE EXPANDED FIELD’ ARTICLE SUMMARY 1‘Sculpturein the Expanded Field’ArticleSummary

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Sculpturein the Expanded Field’ArticleSummary

Theart of sculpture is summarized as the art of making two orthree-dimensional representations of different abstract forms,especially through the practice of carvings from stone or else frommetal/plaster casting. There has been a long history behind the artof sculpture as different communities over the globe had differentknowledge and technique applied in the art of sculpture. This paperis the summary of the article ‘Sculpture in the Expanded Field’written by an art theorist and critic Rosalind Krauss. The essay isabout sculpture, as well as what sculpture had become in the 2nd halfof the 20th(Krauss,1979).

Inthis article, the author (Krauss) has focused on the development ofthe art of sculpture in America between the periods marked by 60’sand70’s. The author has identified two major trends within thistimeframe which are the trend between architecture andnon-architecture, and, on the other hand, the second trend addressedby Krauss is that of landscape and not landscape. The first trendabout sculpture and non-sculpture addresses the blending of sculptureand the aspect of architecture, which, according to the article leadsto the development of the installation. The two trends as in turn hadthe impact of the classical and modern sculpture. According to thearticle, the author starts by addressing the traditional logic ofsculpture, and how the logic faded in the 19th century (Krauss,1979).

Withreference to the article, the author identified that the traditionalart of sculpture was marked between not landscape and notarchitecture. In addition, the author divided this development intodifferent stages which included i) the representative work such asthe case of Balzac statue and Rodin’s Gates of hell. This stage ofmarked by breaking of the traditional sculptural practice from itsdifferent functions of religion, ethics, and literature, obtainingthe independence of the sculpture, and in turn making it a form ofpersonal expression by the artists. This change was gradual and wasmore illustrated by the non-usage of the pedestal, which was a basefor the traditional sculpture. The change allowed the sculptors,ability to express their personality through their work. ii) Themodernist stage/period, this was marked by the use of the base, whichbecame part of the sculpture. An example of this second stage is thework of Brancusi. iii) Turning of sculpture into a form betweenlandscape and architecture. At this stage, the author has mentionedthat the art of sculpture has in turn become a form between thearchitecture and landscape. This means that sculpture cannot livewithout the aspects of background and environment. For example, theworks of both Marry Miss and Moriss Robert is a combination theirwork and the environment (Krauss,1979).

Inconclusion, from the article, it is hard to give a definitedefinition of what is a sculpture, as the boundary between differentart forms can be said to be ambiguous. This is due to the fact that,the art is a cross-boundary between different aspects such aslandscape and sculpture, architecture and landscape as well asbetween architecture and sculpture. This essay/article by Krauss isan important one in the world of art. This is due to the fact that,it gives artists the permission to be free to express themselvesthrough their art.

References

Krauss,R., ‘Sculpture in the Expanding Field’ in&nbspOctober,Vol. 8 (Spring 1979). Retrieved on 12thJune 2015. Fromwww.onedaysculpture.org.nz/assets/images/reading/Krauss.pdf