著者

林 卓行

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.45, no.4, pp.56-66, 1995

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No one could deny that "Minimal art" is one of the most significant movements of contemporary art in 1960s. Donald Judd, sometimes called one of the "Big Five" of Minimalists, strongly hated the name. His hate is natural for the originality of his works is often beyond the concept of Minimal Art. Judd, as "empiricist, " insists on the clarity and reality of his works, and the originality of his spatial (though not in traditional sense) works is in them. His refusal of 'composition' and 'illusion (of pictorial space)' is derived from this, because of indefinability of the former and falsity of the latter. But his works could be 'real' as long as they are visually identified and their 'clarity' means such visual identifiability. As if "What you see" were inevitably "what you see" (Frank Stella), for Judd, visual objects never loses their identities and also vision itself never do their subjective and intersubjective ones. In other words his works are created to be visually identified. The true innovation of Judd's works must be this radical identifiability because all past visual works consequently have been intended not to be visually identified, to leave behind some virtual elements of them.

著者

林 卓行

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.45, no.3, 1994-12-31