https://art282b.blogspot.com/2009/04/sculpture-in-expanded-field.html (Spring, 1979), pp30-44. Although I was never acutely aware of the way that the term had been pulled and stretched over time as Krauss explains, the fact that we have used a strategy of historicism to reduce new and foreign things to what we already know is undeniable. Krauss’ (1979) article, “Sculpture in the expanded field”, which is summarised below, highlights the possible utility of structuralist and poststructuralist thinking for … In today’s world the possibilities are endless in terms of what constitutes a ‘sculpture’. Krauss, Rosalind. Sculpture in the Expanded Field “Rosalind Krauss, Sculpture in the Expanded Field” – Lecture 6. ”Sculpture in the Expanded Field” October, Vol.8. This essay marks a breaking point in theory, that attributes meaning to art not by basis of its medium as this relates to historical practice but by its relationship to other forms of contemporary art making and the constant redefinition of the limits of one form and another. Writing in the 18 th century Gotthold Lessing asserted sculpture to be an art concerned with the deployment of bodies in space. In 1979, reacting against contemporary art’s transformation of modernist medium-specificity into postmodernist medium multiplicity, the art historian Rosalind Krauss - “Sculpture in the Expanded Field” Krauss, Rosalind. Krauss argues that the new classification of sculpture has expanded to allow for new definitions, mediums and landscapes to define its form. In her essay “Sculpture in the Expanded Field” (1979), Rosalind Krauss argues that we know quite well what sculpture is, precisely by way of sculptures relatinoship to the body. “Sculpture in the Extended Field”, October, Vol 8. Krauss, Rosalind. Rosalind Krauss' journal essay provides an insightful look at sculpture's recent past and significant evolution. October, 8, 30-44. Through heroic works such as Spiral Jetty and by contrast through the abject Partially Buried Woodshed, Smithson ushered in a new paradigm of sculpture as Rosalind Krauss described in her seminal 1974 essay Sculpture in the Expanded Field.In this essay Krauss seeks to make sense of a new development in sculpture–minimalism, specifically land based art including the work of Smithson, … 30-44. (Spring, 1979), pp. Such fields of practice can be brought into relation to one another in what Rosalind Krauss calls an ‘expanded field’. Sculpture is, as she says, “the logic of the monument” “commemorative representation” “the logic of Rosalind Krauss, “Sculpture in the Expanded Field”, October, Vol.8 (Spring, 1979), pg. 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