Better to Lose Your Head Than Use It: Working with Ethnographic Fiction and a New Evidential Paradigm at Minimalist Donald Judd’s The Chinati Foundation

IF 0.7 Q3 ANTHROPOLOGY Museum Anthropology Pub Date : 2020-05-19 DOI:10.1111/muan.12219
Emily Verla Bovino
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Abstract

Writing through ethnographic fiction, art practice, and art historical research, this essay presents a study of minimalist Donald Judd’s The Chinati Foundation/La Fondacion Chinati (1979–1986), a museum in West Texas designed by the artist. It explores Chinati in relation to its site—the Texas-Mexico borderlands—focusing on three objects of evidence found in and around it: a World War II–era German-language sign inside the former military complex that Judd retrofitted for the museum, and that he dated and autographed; a wall of a derelict adobe building graffitied with a denouncement of Chinati; and a granite gravestone with an Arabic inscription, marking the final resting place of Lebanese peddler Ramon Karam, whose death on the Rio Grande in 1918 was used as evidence in Senate hearings in support of increased U.S. militarization at the border. The essay shows how working with ethnographic fiction toward a new evidential paradigm shifts perspectives on Chinati, Judd’s practice, the borderlands, and the relationship between scholarship and art practice.

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失去你的头脑比使用它更好:在极简主义唐纳德·贾德的中国基金会与民族志小说和一个新的证据范式合作
本文通过民族志小说、艺术实践和艺术史研究,对极简主义艺术家唐纳德·贾德(Donald Judd)在西德克萨斯州设计的博物馆The Chinati Foundation/La Fondacion Chinati(1979-1986)进行了研究。展览探讨了中国与博物馆所在地——德克萨斯州和墨西哥边境——之间的关系,重点是在博物馆内外发现的三件证据:一个二战时期的德语标志,位于贾德为博物馆改造的前军事建筑群内,他注明了日期并在上面签名;一座废弃土坯房的墙上,涂鸦着谴责中国的文字;还有一块刻有阿拉伯语铭文的花岗岩墓碑,标志着黎巴嫩小贩拉蒙·卡拉姆(Ramon Karam)的最后安息之地,他于1918年死于里约热内卢Grande河,在参议院听证会上被用作支持美国加强边境军事化的证据。这篇文章展示了民族志小说如何朝着一个新的证据范式转变对中国、贾德的实践、边疆以及学术与艺术实践之间关系的看法。
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来源期刊
Museum Anthropology
Museum Anthropology ANTHROPOLOGY-
CiteScore
0.80
自引率
75.00%
发文量
23
期刊介绍: Museum Anthropology seeks to be a leading voice for scholarly research on the collection, interpretation, and representation of the material world. Through critical articles, provocative commentaries, and thoughtful reviews, this peer-reviewed journal aspires to cultivate vibrant dialogues that reflect the global and transdisciplinary work of museums. Situated at the intersection of practice and theory, Museum Anthropology advances our knowledge of the ways in which material objects are intertwined with living histories of cultural display, economics, socio-politics, law, memory, ethics, colonialism, conservation, and public education.
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