{"title":"The Hispanic Society’s Resurrection relief, a Valencian work from the turn of the sixteenth century","authors":"Mercedes Gómez-Ferrer","doi":"10.3828/sj.2020.29.2.3","DOIUrl":"https://doi.org/10.3828/sj.2020.29.2.3","url":null,"abstract":"","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44483561","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Historiographical accounts of the American artist Donald Judd, and of Minimal art in general, have focused primarily on the debates surrounding the emergence of his work in the United States, and New York in particular, from the mid to late 1960s. Little is known about Judd’s early exposure in Europe in between the artist’s inclusion in a group show at the Moderna Museet in Stockholm, Sweden in 1965, up until his first solo show in Europe at the Van Abbemuseum in Eindhoven, the Netherlands in 1970. Judd’s rising reputation and fame in the United States in the second half of the 1960s, epitomized by the widely acclaimed solo shows at the Whitney Museum of American Art in 1968 and the Pasadena Art Museum in Pasadena California in 1971, have primarily shaped a picture of the artist’s early career as a predominantly American affair. In the light of the first US retrospective of Judd since his passing in 1994 at the Museum of Modern Art in New York, opening in March 2020, this essay aims to map the early exposure of Judd in Europe, and in the Netherlands in particular. Based on hitherto unpublished material from archives in Belgium and The Netherlands, this essay intends to critically map the early moments of exposure of Judd’s work in the Low Countries.
对美国艺术家唐纳德·贾德(Donald Judd)的史学描述，以及对极简艺术的总体描述，主要集中在围绕他的作品在美国，尤其是在20世纪60年代中后期在纽约出现的争论上。1965年，贾德参加了瑞典斯德哥尔摩现代博物馆(Moderna Museet)的一场群展，直到1970年，他在荷兰埃因霍温的范阿贝博物馆(Van Abbemuseum)首次在欧洲举办个展，人们对他早期在欧洲的曝光情况知之甚少。贾德在20世纪60年代下半叶在美国名声鹊起，1968年在惠特尼美国艺术博物馆(Whitney Museum of American Art)和1971年在加州帕萨迪纳艺术博物馆(Pasadena Art Museum)举办的广受好评的个展是贾德的缩影，这主要塑造了他早期职业生涯主要是美国人的形象。自1994年贾德去世以来，他在美国的首次回顾展将于2020年3月在纽约现代艺术博物馆(Museum of Modern Art)开幕，鉴于此，本文旨在描绘贾德在欧洲，尤其是荷兰的早期曝光情况。根据比利时和荷兰档案中迄今未发表的材料，本文旨在批判性地描绘贾德在低地国家工作的早期曝光时刻。
{"title":"‘Not so much a line as a star’: Donald Judd in the Low Countries, 1965–71","authors":"W. Davidts","doi":"10.3828/sj.2020.29.2.6","DOIUrl":"https://doi.org/10.3828/sj.2020.29.2.6","url":null,"abstract":"Historiographical accounts of the American artist Donald Judd, and of Minimal art in general, have focused primarily on the debates surrounding the emergence of his work in the United States, and New York in particular, from the mid to late 1960s. Little is known about Judd’s early exposure in Europe in between the artist’s inclusion in a group show at the Moderna Museet in Stockholm, Sweden in 1965, up until his first solo show in Europe at the Van Abbemuseum in Eindhoven, the Netherlands in 1970. Judd’s rising reputation and fame in the United States in the second half of the 1960s, epitomized by the widely acclaimed solo shows at the Whitney Museum of American Art in 1968 and the Pasadena Art Museum in Pasadena California in 1971, have primarily shaped a picture of the artist’s early career as a predominantly American affair. \u0000In the light of the first US retrospective of Judd since his passing in 1994 at the Museum of Modern Art in New York, opening in March 2020, this essay aims to map the early exposure of Judd in Europe, and in the Netherlands in particular. Based on hitherto unpublished material from archives in Belgium and The Netherlands, this essay intends to critically map the early moments of exposure of Judd’s work in the Low Countries.","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46982767","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The written history of Renaissance sculpture has encouraged us to see through gold surfaces. Attention trained to focus on the vehicle of ‘form’ can overlook gilding as skin deep. This is partly a consequence of the colour blindness of sculptural theory as it was developed in the later fifteenth and sixteenth century and of the way precious metalwork was excluded from a restricted definition of the arts of ‘disegno’. When, in 1775, the painter Anton Raphael Mengs approached Tuscany’s Grandduke for permission to remove brown varnish from the city’s Baptistery doors to reveal their gilding, he was rebuffed on the grounds that the gold surface was too fragile and that ‘even if the doors were of solid gold they would only be more beautiful to the eyes of the greedy, and more magnificent, but they would not satisfy a draughtsman/designer (disegnatore); just as an unpatinated bronze does not satisfy because of the false lights that confound one’s sight’.1 The disdain for gold
{"title":"The politics of the gilded body in early Florentine statuary","authors":"A. Wright","doi":"10.3828/sj.2020.29.2.2","DOIUrl":"https://doi.org/10.3828/sj.2020.29.2.2","url":null,"abstract":"The written history of Renaissance sculpture has encouraged us to see through gold surfaces. Attention trained to focus on the vehicle of ‘form’ can overlook gilding as skin deep. This is partly a consequence of the colour blindness of sculptural theory as it was developed in the later fifteenth and sixteenth century and of the way precious metalwork was excluded from a restricted definition of the arts of ‘disegno’. When, in 1775, the painter Anton Raphael Mengs approached Tuscany’s Grandduke for permission to remove brown varnish from the city’s Baptistery doors to reveal their gilding, he was rebuffed on the grounds that the gold surface was too fragile and that ‘even if the doors were of solid gold they would only be more beautiful to the eyes of the greedy, and more magnificent, but they would not satisfy a draughtsman/designer (disegnatore); just as an unpatinated bronze does not satisfy because of the false lights that confound one’s sight’.1 The disdain for gold","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44914746","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Editorial","authors":"Emma M. Payne, E. Foster, T. Kittler, E. Marchand","doi":"10.3828/sj.2020.29.2.1","DOIUrl":"https://doi.org/10.3828/sj.2020.29.2.1","url":null,"abstract":"","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49068347","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Gabriella Beckhurst, J. Bryant, Caterina Fioravanti, Evonne Levy, Marte Stinis, C. Kinsey, T. Kittler, Max Koss, T. M. Evans
{"title":"Reviews","authors":"Gabriella Beckhurst, J. Bryant, Caterina Fioravanti, Evonne Levy, Marte Stinis, C. Kinsey, T. Kittler, Max Koss, T. M. Evans","doi":"10.3828/sj.2020.29.1.6","DOIUrl":"https://doi.org/10.3828/sj.2020.29.1.6","url":null,"abstract":"","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45434014","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Diplomatic devices: Henry Moore and the transatlantic politics of the Time-Life building","authors":"Alex J. Taylor","doi":"10.3828/sj.2020.29.1.2","DOIUrl":"https://doi.org/10.3828/sj.2020.29.1.2","url":null,"abstract":"","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69952783","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"‘An unrivalled brass Lectorium’: the Cloisters lectern and the Gothic Revival in England","authors":"D. Brine","doi":"10.3828/sj.2020.29.1.4","DOIUrl":"https://doi.org/10.3828/sj.2020.29.1.4","url":null,"abstract":"","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69952334","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The queen’s two bodies: monumental sculpture at the funeral of Anna of Denmark, 1619","authors":"Catriona Murray","doi":"10.3828/sj.2020.29.1.3","DOIUrl":"https://doi.org/10.3828/sj.2020.29.1.3","url":null,"abstract":"","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.3828/sj.2020.29.1.3","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69952791","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Bertram Grosvenor Goodhue’s influential ‘prairie skyscraper’ design for the Nebraska State Capitol, inaugurated in 1928, has long defied stylistic categorisation. A now greatly overlooked element of its unclassifiable style was noted in numerous assessments at the time which identified ‘Oriental’ ‘Assyrian’ or ‘Assyrian-Babylonian’ features which, despite (or because of) their associations with a deep antiquity, contributed to the new, distinctly American architecture of the building, and of its sculptural programme by Lee Lawrie. This article considers the Assyrianising tendencies of the Capitol in the context of Art Deco interest in ‘revival’ of ancient styles, and American civic architecture’s engagement with the ancient Middle Eastern past as an origin of civilization. Goodhue’s close collaboration with Lawrie, muralist Hildreth Meière, and ‘symbologist’ Hartley Burr Alexander exemplified the productive and creative application of revived ancient iconography, which was employed in Nebraska in the service of various historical narratives and as a reflection of the designers’ aesthetic appreciation for Assyrian sculptures. Finally this article also investigates how the Capitol’s treatment of the ancient Mesopotamian ‘lawgiver’ Hammurabi influenced ‘Hammurabis’ in subsequent sculptural contexts, including in the State Capitol of Louisiana, American federal government buildings, and the Oriental Institute of the University of Chicago. 1
Bertram Grosvenor Goodhue为内布拉斯加州议会大厦设计的具有影响力的“草原摩天大楼”，于1928年落成，长期以来一直与风格分类相抵触。在当时的许多评估中，人们注意到其无法分类的风格中有一个现在被大大忽视的因素，即“东方”、“亚述”或“亚述-巴比伦”特征，尽管(或因为)它们与古老的古代联系在一起，但这些特征促成了新的、独特的美国建筑风格，以及由Lee Lawrie设计的雕塑项目。本文考虑了在装饰艺术对古代风格的“复兴”感兴趣的背景下，国会大厦的亚述化趋势，以及美国公民建筑与古代中东过去作为文明起源的关系。Goodhue与Lawrie、壁画家Hildreth mei re和“符号学家”Hartley Burr Alexander的密切合作，体现了复兴古代图像学的生产性和创造性应用，这些图像学在内布拉斯加州被用于各种历史叙事，并反映了设计师对亚述雕塑的审美欣赏。最后，本文还研究了国会大厦对古代美索不达米亚“立法者”汉谟拉比的处理如何影响了后来的雕塑环境中的“汉谟拉比”，包括路易斯安那州议会大厦、美国联邦政府大楼和芝加哥大学东方学院
{"title":"From Mesopotamia to the Nebraska State Capitol: Assyrian Revival and new American meanings","authors":"E. Miller","doi":"10.3828/SJ.2020.29.1.5","DOIUrl":"https://doi.org/10.3828/SJ.2020.29.1.5","url":null,"abstract":"Bertram Grosvenor Goodhue’s influential ‘prairie skyscraper’ design for the Nebraska State Capitol, inaugurated in 1928, has long defied stylistic categorisation. A now greatly overlooked element of its unclassifiable style was noted in numerous assessments at the time which identified ‘Oriental’ ‘Assyrian’ or ‘Assyrian-Babylonian’ features which, despite (or because of) their associations with a deep antiquity, contributed to the new, distinctly American architecture of the building, and of its sculptural programme by Lee Lawrie. This article considers the Assyrianising tendencies of the Capitol in the context of Art Deco interest in ‘revival’ of ancient styles, and American civic architecture’s engagement with the ancient Middle Eastern past as an origin of civilization. Goodhue’s close collaboration with Lawrie, muralist Hildreth Meière, and ‘symbologist’ Hartley Burr Alexander exemplified the productive and creative application of revived ancient iconography, which was employed in Nebraska in the service of various historical narratives and as a reflection of the designers’ aesthetic appreciation for Assyrian sculptures. Finally this article also investigates how the Capitol’s treatment of the ancient Mesopotamian ‘lawgiver’ Hammurabi influenced ‘Hammurabis’ in subsequent sculptural contexts, including in the State Capitol of Louisiana, American federal government buildings, and the Oriental Institute of the University of Chicago. 1","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69953007","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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