| Title |
An Analytical Study on the Architectural Features in the Works of Donald Judd according to Lacan's Gaze |
| DOI |
https://doi.org/10.5659/JAIK_PD.2017.33.8.9 |
| Keywords |
Donald Judd ; Lacan ; Gaze ; Minimalism ; Marfa Project |
| Abstract |
The purposes of this study were to identify the architectural features inherent in the works of Donald Judd, one of representative minimalism artists, with the concept of gaze, which is the core of Lacan's visual art theory, and examine its common and different characteristics with various modern trends of architecture through comparison. The findings were as follows: first, Judd created works of art that established a gaze of looking at the subject of representation in the dimension of symbolic order through the mutual interference of the ego of audience and the eyes of the others' works in a process of repeating objects in a grid form. Second, Judd sought after "specific objects," which were pieces of art in the dimension of real order that were impossible to be actualized according to Lacan, by adding various eyes created as the audience moved in and outside the works that had been enlarged and also the uniqueness of a place where a work was installed. Third, modernism architecture in the style of internationalism had similar forms to the works of Judd, but the symmetry valued by him was differentiated from the free plane inside a building that was sought after in modernism architecture. Fourth, Judd collected the eyes of audience that had been open and condensed them into a single important eye through the enlargement of "six plywood boxes," "three concrete boxes," and "15 groups of freestanding works in concrete," thus trying an artistic approach toward the actualization of eyes in the real order. Fifth, the eyes from outside to inside were replaced with sunlight in the mutual interpenetration of in and outside space, and the development process of modernism architecture, which recognized the importance of locality once again, was similar to a series of processes in which Judd pursued the embodiment of real order with his works. Finally, the architectural features inherent in the minimalism works of Judd offer crucial grounds with which to infer connections between modernism architecture and post-modernism architecture that was formed against it. |