Rosalind Krauss in “Sculpture in the Expanded Field” discuss the transformation in the field of art particularly sculpture. She explores the diversification that has led to the broadening of sculpture definition and structure that was evident in the second half of the twentieth century. Sculpture widened to include medium such as photography, mirrors and books. Krauss was an art critic and through her ideas expressed in the Sculpture in the extended field contributed greatly to the transition from contemporary art (sculpture). Krauss attempted to redefine sculpture arguing that it should include real societal issues advocating for artist to be able to freely and fully express themselves in their work.
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Krauss ideas criticize the authenticity and uniqueness of sculpture being based on defined specific predetermine structures. Her ideas are associated with structuralism since they attempt to define the structure of postmodernism sculpture as neither landscape nor architecture. For instance, she suggests the use of landscape and architecture in bringing about the changes required to transform the sculpture field that she felt was not entirely serving its purpose as implied by Krauss[1]. Hal[2] claims that Krauss believed modernism is limiting as it is dominated by specific forms and structures that are used to define sculpture; art such as sculpture is categorized based on particular assumptions and prejudice that limits the extent of artists’ creativity. On the other hand, she beliefs postmodernism allows artists to overcome the constraints of post modernism enabling them to absorb and explore a wide range of ideas in their work. Krauss beliefs the shift to postmodernism began in the nineteenth century when the site of sculpture was abandoned and artists began to express themselves in their work. She cites the work of She of Rodin’s, Gates of Hell and his statute of Balzac as examples of works that expressed personality.
Krauss suggests that sculpture ought to be defined by logical operations as well implying that sculpture should attempt to bring out reality. Krauss beliefs that sculpture should express societal issues affecting human life like culture and politics. Traditionally, sculpture has been based on landscape and architecture thus creating a rift between them and human beings. She therefore, assumes that diversifying would bring the sculptures closer to the human world while retaining their aesthetic value and originality as implied by Krauss[3].
Hal[4] says that Krauss’ theory is associated with Greenberg’s theories as she is believed to have continued with his work. Just like Greenberg, she believed that traditional definition of art (sculpture) overlooked factors that affected human existence such as culture and politics completely ignoring the society and every major thing associated with it as she advocates for logical operations inclusion in the description of sculpture.
Krauss evaluation of the transformation as well as expansion of sculpture is intriguing and exclusive. Her critics of areas in the sculpture field that needed redefinition are realist and reasonable especially her advocacy of the inclusion of societal issues in the description of sculpture. Art is not supposed to sideline human beings as they are the center of the universe thus I second her idea of integrating sculpture into human life by communicating factors that affects humans as affirmed Hal[5].
In conclusion, Krauss looks into the broadening of the sculpture field that saw its transformation during the nineteenth century when its site was abandoned. On her opinion, the definition of sculpture widened to an extent it included wide range of medium such as books, photography, lines on walls and mirrors. Postmodernism saw sculptors’ aiming to express themselves in their work freely incorporating their ideas and perception of society. She seems to second the notion of basing sculpture on real life issues instead of distancing it from humanity.
References
Foster, Hal. Art Since 1900: Modernism, Antimodernism, Postmodernism. New York: Thames & Hudson, 2011.
Rosalind, Krauss. Sculpture in the Expanded Field. MIT, 1979.
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Krauss, Rosalind. Sculpture in the Expanded Field. (MIT, 1979), 10 ↑
Hal Foster, Art Since 1900: Modernism, Antimodernism, Postmodernism (New York: Thames & Hudson, 2011), 23 ↑
Ibid., 14 ↑
Ibid., 24 ↑
Ibid,30 ↑
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