{"title":"除了绘画","authors":"Rosalind E. Krauss","doi":"10.1162/octo_a_00464","DOIUrl":null,"url":null,"abstract":"Abstract Rosalind Krauss argues that the 2020 Donald Judd retrospective at the Museum of Modern Art shows that the painterly side of this famously “anti-painter” artist was more pronounced than he would have ever admitted.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":"1 1","pages":"3-6"},"PeriodicalIF":0.4000,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Beyond Painting\",\"authors\":\"Rosalind E. Krauss\",\"doi\":\"10.1162/octo_a_00464\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Abstract Rosalind Krauss argues that the 2020 Donald Judd retrospective at the Museum of Modern Art shows that the painterly side of this famously “anti-painter” artist was more pronounced than he would have ever admitted.\",\"PeriodicalId\":51557,\"journal\":{\"name\":\"OCTOBER\",\"volume\":\"1 1\",\"pages\":\"3-6\"},\"PeriodicalIF\":0.4000,\"publicationDate\":\"2022-08-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"OCTOBER\",\"FirstCategoryId\":\"1092\",\"ListUrlMain\":\"https://doi.org/10.1162/octo_a_00464\",\"RegionNum\":4,\"RegionCategory\":\"社会学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"HUMANITIES, MULTIDISCIPLINARY\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"OCTOBER","FirstCategoryId":"1092","ListUrlMain":"https://doi.org/10.1162/octo_a_00464","RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"HUMANITIES, MULTIDISCIPLINARY","Score":null,"Total":0}
引用次数: 0
摘要
罗莎琳德·克劳斯(Rosalind Krauss)认为，2020年在现代艺术博物馆(Museum of Modern Art)举办的唐纳德·贾德(Donald Judd)回顾展表明，这位著名的“反画家”艺术家的绘画一面比他自己所承认的更为明显。
Abstract Rosalind Krauss argues that the 2020 Donald Judd retrospective at the Museum of Modern Art shows that the painterly side of this famously “anti-painter” artist was more pronounced than he would have ever admitted.
期刊介绍：
At the forefront of art criticism and theory, October focuses critical attention on the contemporary arts and their various contexts of interpretation: film, painting, music, media, photography, performance, sculpture, and literature. Examining relationships between the arts and their critical and social contexts, October addresses a broad range of readers. Original, innovative, provocative, each issue presents the best, most current texts by and about today"s artistic, intellectual, and critical vanguard.
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