Architecture and Objecthood: Donald Judd’s Renaissance Imaginary

Architecture and Objecthood: Donald Judd’s Renaissance Imaginary Architectureale and Objecthood:x Donald Judd’s Renaissance Imaginary Alexander R. Bigman man Architecture and Objecthood: Donald Judd’s Renaissance Imaginary Alexander R. Bigman Donald Judd renounced the legacy of Renaissance art in no uncertain terms: 1. Donald Judd, interview by Barbara Rose and Frank Stella, 1967, transcript, p. 27, Archives of ‘I hate humanism’, he once declared. As for the ‘European tradition’, the American Art. artist assured one interlocutor in 1964, ‘it suits me fine if that’s all down the 2. Bruce Glaser, ‘Questions to Stella and Judd’ in drain’. His rectilinear constructions of the mid-1960s, typically composed of Gregory Battcock (ed.), Minimal Art: A Critical industrially produced materials such as stainless steel and Plexiglas and built by Anthology (Berkeley: University of California hired fabricators, may seem to bear out his commitment to an art disconnected Press, 1995), p. 150. from the image of man or an anthropocentric universe. However, this is not to 3. Judd arrived at his proscription of allusion say that they appeared entirely alien to New York viewers at the time. through his art criticism of the early 1960s. See, Notwithstanding Judd’s avowed pursuit of a literal art, free of allusion to for example, Donald Judd, ‘Lee http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Oxford Art Journal Oxford University Press

Architecture and Objecthood: Donald Judd’s Renaissance Imaginary

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Publisher
Oxford University Press
Copyright
© The Author 2017. Published by Oxford University Press; all rights reserved
ISSN
0142-6540
eISSN
1741-7287
D.O.I.
10.1093/oxartj/kcx022
Publisher site
See Article on Publisher Site

Abstract

Architectureale and Objecthood:x Donald Judd’s Renaissance Imaginary Alexander R. Bigman man Architecture and Objecthood: Donald Judd’s Renaissance Imaginary Alexander R. Bigman Donald Judd renounced the legacy of Renaissance art in no uncertain terms: 1. Donald Judd, interview by Barbara Rose and Frank Stella, 1967, transcript, p. 27, Archives of ‘I hate humanism’, he once declared. As for the ‘European tradition’, the American Art. artist assured one interlocutor in 1964, ‘it suits me fine if that’s all down the 2. Bruce Glaser, ‘Questions to Stella and Judd’ in drain’. His rectilinear constructions of the mid-1960s, typically composed of Gregory Battcock (ed.), Minimal Art: A Critical industrially produced materials such as stainless steel and Plexiglas and built by Anthology (Berkeley: University of California hired fabricators, may seem to bear out his commitment to an art disconnected Press, 1995), p. 150. from the image of man or an anthropocentric universe. However, this is not to 3. Judd arrived at his proscription of allusion say that they appeared entirely alien to New York viewers at the time. through his art criticism of the early 1960s. See, Notwithstanding Judd’s avowed pursuit of a literal art, free of allusion to for example, Donald Judd, ‘Lee

Journal

Oxford Art JournalOxford University Press

Published: Aug 1, 2017

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