{"title":"“与其说是台词,不如说是明星”:唐纳德·贾德在《低地国家》,1965–71","authors":"W. Davidts","doi":"10.3828/sj.2020.29.2.6","DOIUrl":null,"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. \nIn 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 Based on hitherto unpublished material from archives in Belgium and The Netherlands, this essay intends to critically map the early moments of exposure of Judd’s work in the Low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":0.3000,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"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\":null,\"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. \\nIn 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\":0.3000,\"publicationDate\":\"2020-07-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Sculpture Journal\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.3828/sj.2020.29.2.6\",\"RegionNum\":3,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"ART\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Sculpture Journal","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.3828/sj.2020.29.2.6","RegionNum":3,"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
摘要
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。
‘Not so much a line as a star’: Donald Judd in the Low Countries, 1965–71
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.