同一性のかたち : ドナルド・ジャッドの芸術について  [in Japanese] The Forms of Identifiability : On the Art of Donald Judd  [in Japanese]

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Abstract

No one could deny that "Minimal art" is one of the most significant movements of contemporary art in 1960s. Donald Judd, sometimes called one of the "Big Five" of Minimalists, strongly hated the name. His hate is natural for the originality of his works is often beyond the concept of Minimal Art. Judd, as "empiricist, " insists on the clarity and reality of his works, and the originality of his spatial (though not in traditional sense) works is in them. His refusal of 'composition' and 'illusion (of pictorial space)' is derived from this, because of indefinability of the former and falsity of the latter. But his works could be 'real' as long as they are visually identified and their 'clarity' means such visual identifiability. As if "What you see" were inevitably "what you see" (Frank Stella), for Judd, visual objects never loses their identities and also vision itself never do their subjective and intersubjective ones. In other words his works are created to be visually identified. The true innovation of Judd's works must be this radical identifiability because all past visual works consequently have been intended not to be visually identified, to leave behind some virtual elements of them.

Journal

  • Aesthetics

    Aesthetics 45(4), 56-66, 1995

    The Japanese Society for Aesthetics

Codes

  • NII Article ID (NAID)
    110003714126
  • NII NACSIS-CAT ID (NCID)
    AN0020658X
  • Text Lang
    JPN
  • ISSN
    0520-0962
  • NDL Article ID
    3289265
  • NDL Source Classification
    J11(芸術・美術)
  • NDL Source Classification
    ZK1(芸術)
  • NDL Call No.
    Z11-34
  • Data Source
    NDL  NII-ELS  J-STAGE 
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