Sculpture in the Expanded Field :
Rosalind Krauss October, Vol. 8. (Spring, 1979), pp. 30-44.
The logic of sculpture, it would seem, is inseparable from the logic of the monument. By virtue of this logic a sculpture is a commemorative representation. It sits in a particular place and speaks in a symbolical tongue about the meaning or use of that place. 이전의 조각은 monument였다.
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. Which is to say one enters modernism, since it is the modernist period of sculptural production that operates in relation to this loss of site, producing the monument as abstraction, the monument as pure marker or base, functionally placeless and largely self-referential. 이 두 가지가 가장 커다란 차이점.
In being the negative condition of the monument, modernist sculpture had a kind of idealist space to explore, a domain cut off from the project of temporal and spatial representation.
The expanded field is thus generated by problematizing the set of oppositions between which the modernist category sculpture is suspended.
Because as we can see, sculpture is no longer the privileged middle term between two things that it isn’t. Sculpture is rather only one term on the periphery of a field in which there are other, differently structured possibilities.
1970s : Site-construction 작업들 등장. Robert Smithson, 등등.
From the structure laid out above, it is obvious that the logic of the space of postmodernist practice is no longer organized around the definition of a given medium on the grounds of material, or the perception of material. It is organized instead through the universe of terms that are felt to be in opposition within a cultural situation.
many different mediums might be employed.
I have been insisting that the expanded field of postmodernism occurs at a specific moment in the recent history of art. It is a historical event with a determinant structure.