THE ARTIST-RESEARCHER - AN AMERICAN DREAM THROUGH THE PRISM OF DONALD JUDD

The result of research carried out mainly in the United States, this work offers to look back over the decades in which the figure of the " "artist-academic". Criticized in 1972 by Harold Rosenberg, this famous academic turn has since become considerably popularized, standardized and internationalized. However, the ideological factors that favored it remained to this day. little known, as are the political, socio-economic and epistemological which carried it. The investigation carried out in The Artist-Academic. An American Dream through the Prism of Donald Judd consists of determine how an intellectual authority long denied to artists Americans was so suddenly and so conspicuously recognized. Mixing sociology, visual culture, political, cultural, educational history, academic, media but also military, union, and popular this research sheds light on the conditions in which new ideals for the American nation since World War II. Eminently political, the figure of the artist-academic is celebrated for the first time times in the 1960s, depreciated during the 1980s and 1990s, before to be valued with new insistence since the 2000s while European arts education reforms align with model university that has become internationally predominant. Because it is directly linked to the birth of cognitive capitalism and the rise of paradigm of "creative research", the figure of the artist-academic is not in no way a construction belonging to the past. This work is organized into three chapters which, following a chronological axis, explore the imagination where it is fomented this American academic dream, then attached themselves to more policies pragmatics of its implementation, before studying through the specific means of Donald Judd how he transformed himself. Although he never Donald Judd's academic career has seen his fame directly linked to the story that made him a herald of "educated art." Symbolic authority which was thus granted to him is largely superior to that which his reflection on the disordered structure of history and on the political nature regimes of the visible. Thus, by looking at texts and archival funds little explored, and based on interviews conducted with those who were its close friends and colleagues, this book proposes to shift the angle by which is traditionally understood his work and to analyze it in a new light the emergence of the figure of the artist-academic.