Reading: Sculpture in the Expanded Field By Rosalind Krauss

1. What would have been so problematic about the classification of these artists works at the time they were made?

The  classification of these works was complicated because sculpture was something new, it was basically in an evolution process and no rules were set. Anything can be consider or perceive  as sculpture and the intentionality of a piece was not define the way we know it today. There was a issue in the different concepts of these objects depending on their  historical background: monument (tribute) versus sculpture (piece of art/instrument for decoration). Also; the pieces had to fulfill certain rules to be consider as sculpture like the not-landscape/not-architecture rule. 

2.This text was written in the late 1970's. How may we find ourselves in a similar situation today written regards to identifying/cataloging and understanding current creative practice? 

The understanding of my creative practice is similar to the one explain on this text written on 1970's because I perceived sculpture as something new, I am not sure of what sculpture is even if  I admire pieces in museums and art fairs. My artistic vision moves forward 2-D artwork but  I decide to explore techniques or mediums I am not used like sculpture to improve my visual artist skills. Also; for me is hard to see a meaning, a function or both of them as a whole being those characteristic of modern sculpture. My inspiration comes from creating something new that speaks for myself. 

3.Of the object-oriented "sculptural" work being made today, what type of work do you find most challenging to accept or understand?

From the "sculptural" work made today I am challenge to understand conceptual sculpture, sometimes I perceived  these pieces as decorative objects rather than art. It is hard to get the meaning or the message the artist wants to send with his/her artwork and even if they are visually appealing I do not understand the concept behind the pieces unless I have an opportunity of speaking with the artist to learn his/her intentions. Some examples from the reading are Carl Andre "Cuts" and Alice Aycock "Maze" which I feel are interactive pieces to improve certain space.