Rosiland Krauss “Sculpture in the Expanded Field”


Rosiland Krauss explores sculpture in the form of earthworks. She thinks that more recently more and more things are being considered sculpture. As the term sculpture is now more loosely applied, old forms are looked to to legitimize the title for these works. Krauss makes the point that if modern earthworks are considered sculpture then so would be Stonehenge and Toltec ball-courts. But these are not at all sculpture, they serve a different purpose. Krauss explains how the term sculpture has been obscured. She states that the purest examples that come to her mind are by Robert Morris done in the 1960s. The outdoor exhibition (pictured below) of mirrored boxes – forms which are distinct from the setting because it is not actually part of the landscape although it blends in visually. In this sense the art falls into the category of not sculpture and not architecture. Krauss gives the title site construction to works such as Partially Buried Woodshed by Robert Smithson at Kent State University. The term marked sites can be used to identify works such as Robert Smithson’s  Spiral Jetty.





Yoko Ono MoMA show

The New York Times on Yoko Ono


Yoko Ono Faked a solo show at the Museum of Modern Art in 1971!

“Tangible evidence of that 1971 MoMA solo exists. There are photographs of Ms. Ono standing with her work in the museum’s Sculpture Garden. There are newspaper clippings of advertisements for the show, even a few reviews. But, it turns out, the “reviews” are just quotes collected from visitors. The Sculpture Garden shot is a cut-and-paste job. So is a promotional image of her seen standing outside the museum, under an awning emblazoned with its name. She holds a large shopping bag printed with the letter “F” and positions it near the “A” in Art.” -New York Times

Just this year her solo show became a reality. One of the many art pieces in her how was her book titled: Grapefruit.

“The book, probably Ms. Ono’s best known piece, had an inauspicious start. Ms. Ono compiled it from accumulated manuscripts and self-published it in the cheapest possible format. At the time, her reputation was still confined to a small circle of avant-garde artists, writers and musicians in New York and Tokyo. Even though what she was doing in the book with language and ideas was radical, work that would bring fame later to Conceptual artists like Joseph Kosuth and Lawrence Weiner, she could barely give copies away.” -New york Times


Grapefruit by Yoko Ono


Yoko Ono’s book of instructions and drawings sheds light on how to enjoy and and take in life simply. The illustrations are imple and straightforward. The instructions may seem silly or strange to the reader at first. Ono’s goal is to help us to take in the little things one by one and cherish the little things in life. An early example of conceptual art, it contains a series of “event scores” that replace the physical work of art. The book is written lyrically and as poems or as a haiku.