{"title":"Donald Evans","authors":"Sophie Cras","doi":"10.1086/724507","DOIUrl":null,"url":null,"abstract":"This article aims to recover the work of American artist Donald Evans (1945–1977), who operated on the fringes of conceptual art. Evans created postage stamps for imaginary nations, which he collected in his Catalogue of the World. Evans’s system of images, painstakingly drawn on paper and painted with watercolors, references the decolonizing world of the 1960s–70s. Through fictional countries like the “Oriental” state of Adjudani, or the former colonies of Katibo and Amis et Amants, the artist captured the volatile international scene of his day, torn by the violent forces of colonial heritage. Painting and cataloging went hand in hand in his project, which attempted—not always successfully—to arouse critical thinking about domination through images, the structuration of different worldviews, and the predatory dimension of cataloging.","PeriodicalId":43434,"journal":{"name":"American Art","volume":"37 1","pages":"126 - 143"},"PeriodicalIF":0.3000,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"American Art","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1086/724507","RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ART","Score":null,"Total":0}
引用次数: 0
Abstract
This article aims to recover the work of American artist Donald Evans (1945–1977), who operated on the fringes of conceptual art. Evans created postage stamps for imaginary nations, which he collected in his Catalogue of the World. Evans’s system of images, painstakingly drawn on paper and painted with watercolors, references the decolonizing world of the 1960s–70s. Through fictional countries like the “Oriental” state of Adjudani, or the former colonies of Katibo and Amis et Amants, the artist captured the volatile international scene of his day, torn by the violent forces of colonial heritage. Painting and cataloging went hand in hand in his project, which attempted—not always successfully—to arouse critical thinking about domination through images, the structuration of different worldviews, and the predatory dimension of cataloging.
本文旨在恢复美国艺术家唐纳德·埃文斯（1945–1977）的作品，他在概念艺术的边缘运作。埃文斯为想象中的国家创作了邮票，并将其收藏在《世界目录》中。埃文斯的图像系统是在纸上精心绘制并用水彩绘制的，参考了20世纪60年代至70年代的非殖民化世界。通过虚构的国家，如“东方”的阿季达尼州，或卡蒂博和Amis et Amants的前殖民地，这位艺术家捕捉到了他那个时代动荡的国际场景，被殖民遗产的暴力力量撕裂。绘画和编目在他的项目中是齐头并进的，该项目试图——但并不总是成功——通过图像、不同世界观的结构和编目的掠夺性维度来唤起对统治的批判性思考。
期刊介绍：
American Art is a peer-reviewed journal dedicated to exploring all aspects of the nation"s visual heritage from colonial to contemporary times. Through a broad interdisciplinary approach, American Art provides an understanding not only of specific artists and art objects, but also of the cultural factors that have shaped American art over three centuries of national experience. The fine arts are the journal"s primary focus, but its scope encompasses all aspects of the nation"s visual culture, including popular culture, public art, film, electronic multimedia, and decorative arts and crafts. American Art embraces all methods of investigation to explore America·s rich and diverse artistic legacy, from traditional formalism to analyses of social context.
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