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Journal articles on the topic 'La Mansana de Chinati'

Author: Grafiati

Published: 5 June 2025

Last updated: 2 August 2025

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1

Llamazares, Blanco Pablo. "Reflexiones espaciales de Donald Judd. Del objeto caja a La Mansana de Chinati en Marfa, Texas = Spatial reflections of Donald Judd. From the box object to La Mansana de Chinati in Marfa, Texas." rita_ Revista Indexada de Textos Académicos, no. 20 (November 30, 2023): 94–111. https://doi.org/10.24192/2386-7027(2023)(v20)(05).

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Entre los múltiples temas arquitectónicos abordados por el artista Donald Judd en su trayectoria, fue la noción de límite espacial uno de sus mayores intereses en la década de los setenta, tras el auge del movimiento minimalista. Es por ello que este estudio se propone arrojar luz sobre esta cuestión, desarrollada por el autor estadounidense desde un trabajo simultáneo en arte y arquitectura. Un hecho que pone de relieve su labor interdisciplinar con el espacio, en un trasvase continuado entre áreas de creación que evidenció

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2

Bru, Ricard. "The Mansana Collection. A Treasury of Japanese Art in Barcelona at the Turn of the Twentieth Century." Journal of Japonisme 5, no. 2 (2020): 180–209. http://dx.doi.org/10.1163/24054992-00052p03.

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Abstract Josep Mansana Dordan, a well-known Catalan late-nineteenth-century businessman, founded what is considered the finest collection of Japanese art established in Catalonia and in Spain at the turn of the century. In the early twentieth century, the Mansana Collection, as it was known, enjoyed popularity and prestige in Barcelona thanks to its constant expansion driven by the founder’s son, Josep Mansana Terrés, also an entrepreneur. The collection was well known at the time, but fell into oblivion after the outbreak of the Spanish Civil War in 1936. It was not until 2013 that, on the oc

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3

Yancey, Franklin D., and Mark W. Lockwood. "FIRST RECORD OF THE AMERICAN BLACK BEAR (URSUS AMERICANUS) FROM THE CHINATI MOUNTAINS OF WESTERN TEXAS." Southwestern Naturalist 63, no. 2 (2019): 133. http://dx.doi.org/10.1894/0038-4909-63-2-133.

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4

Walker, James M., James E. Cordes, James F. Scudday, Raj V. Kilambi, and C. C. Cohn. "Activity, Temperature, Age, Size and Reproduction in the Parthenogenetic Whiptail Lizard Cnemidophorus dixoni in the Chinati Mountains in Trans-Pecos Texas." American Midland Naturalist 126, no. 2 (1991): 256. http://dx.doi.org/10.2307/2426101.

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5

Punzo, Fred. "Life history, demography, diet and habitat associations in the southwestern earless lizard, Cophosaurus texanus scitulus from northern and southern limits of its geographical range." Amphibia-Reptilia 28, no. 1 (2007): 65–76. http://dx.doi.org/10.1163/156853807779798974.

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AbstractI studied life history traits, demography, diet composition and habitat associations in the southwestern earless lizard, Cophosaurus texanus scitulus. Individuals from various age classes were sampled from populations at the northern (FCM) and southern (CAS) boundaries of its geographic range (FCM, foothills of Chinati Mts., Texas, USA; CAS, Castonos, Coahuila, Mexico). Males had higher growth rates as compared to females between the juvenile-to-yearling stages at both sites. Significant differences were also found for yearlings, and between yearling-to-adult stages. Growth rates decre

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6

Bovino, Emily Verla. "Better to Lose Your Head Than Use It: Working with Ethnographic Fiction and a New Evidential Paradigm at Minimalist Donald Judd’s The Chinati Foundation." Museum Anthropology 43, no. 1 (2020): 60–76. http://dx.doi.org/10.1111/muan.12219.

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7

Llamazares Blanco, Pablo. "Reflexiones espaciales de Donald Judd. Del objeto caja a La Mansana de Chinati en Marfa, Texas." rita_, November 30, 2023, 94–111. http://dx.doi.org/10.24192/2386-7027(2023)(v20)(05).

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8

Urbano, Judith. "Cinc models d’arquitectura del segle XIX al Passeig de Gràcia : la diversitat a la mansana de la discòrdia." Patrimoines du Sud 20 (2024). http://dx.doi.org/10.4000/12dtn.

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L’article analitza cinc edificis situats a la cèlebre mansana de la discòrdia a Barcelona, així com la manera de concebre’ls dels seus arquitectes. La ciutat del segle XIX que s’estava expandint segons un nou pla urbanístic, va oferir un marc ideal per a la construcció d’immobles destinats a la burgesia enriquida per la revolució industrial. Barcelona, mitjançant el pla Cerdà disposava de l’espai perfecte, en particular, el passeig de Gràcia, avinguda n’esdevindrà la més important. És aquí on trobarem la mansana en qüestió, de la qual n’explicarem l’origen tot aprofundint sobre els edificis, e

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9

"Chinati: the vision of Donald Judd." Choice Reviews Online 48, no. 07 (2011): 48–3670. http://dx.doi.org/10.5860/choice.48-3670.

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10

Jones, Clyde, Mark W. Lockwood, Tony R. Mollhagen, Franklin D. Yancey, and Michael A. Bogan. "Mammals of the Chinati Mountains State Natural Area, Texas." Occasional Papers Museum Texas Tech University, no. 300 (June 12, 2011). https://doi.org/10.5281/zenodo.13448529.

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(Uploaded by Plazi for the Bat Literature Project) During a survey of the mammals of the Chinati Mountains State Natural Area (CMSNA), 934 individuals of 10 species of bats were captured from nine locations. An additional five species occur elsewhere in the Chinati Mountains (Schmidly 1991) and probably occur on the CMSNA as well. Antrozous pallidus was the most abundant bat, followed by Parastrellus hesperus, Myotis velifer, Tadarida brasiliensis, M. californicus, M. thysanodes, Mormoops megalophylla, Eptesicus fuscus, M. volans, and Lasiurus cinereus. A total of 34 species of non-volant mamm

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11

Jones, Clyde, Mark W. Lockwood, Tony R. Mollhagen, Franklin D. Yancey, and Michael A. Bogan. "Mammals of the Chinati Mountains State Natural Area, Texas." Occasional Papers Museum Texas Tech University, no. 300 (June 7, 2011). https://doi.org/10.5281/zenodo.13448529.

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(Uploaded by Plazi for the Bat Literature Project) During a survey of the mammals of the Chinati Mountains State Natural Area (CMSNA), 934 individuals of 10 species of bats were captured from nine locations. An additional five species occur elsewhere in the Chinati Mountains (Schmidly 1991) and probably occur on the CMSNA as well. Antrozous pallidus was the most abundant bat, followed by Parastrellus hesperus, Myotis velifer, Tadarida brasiliensis, M. californicus, M. thysanodes, Mormoops megalophylla, Eptesicus fuscus, M. volans, and Lasiurus cinereus. A total of 34 species of non-volant mamm

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12

Jones, Clyde, Mark W. Lockwood, Tony R. Mollhagen, Franklin D. Yancey, and Michael A. Bogan. "Mammals of the Chinati Mountains State Natural Area, Texas." Occasional Papers Museum Texas Tech University, no. 300 (July 3, 2011). https://doi.org/10.5281/zenodo.13448529.

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(Uploaded by Plazi for the Bat Literature Project) During a survey of the mammals of the Chinati Mountains State Natural Area (CMSNA), 934 individuals of 10 species of bats were captured from nine locations. An additional five species occur elsewhere in the Chinati Mountains (Schmidly 1991) and probably occur on the CMSNA as well. Antrozous pallidus was the most abundant bat, followed by Parastrellus hesperus, Myotis velifer, Tadarida brasiliensis, M. californicus, M. thysanodes, Mormoops megalophylla, Eptesicus fuscus, M. volans, and Lasiurus cinereus. A total of 34 species of non-volant mamm

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13

Jones, Clyde, Mark W. Lockwood, Tony R. Mollhagen, Franklin D. Yancey, and Michael A. Bogan. "Mammals of the Chinati Mountains State Natural Area, Texas." Occasional Papers Museum Texas Tech University, no. 300 (July 10, 2011). https://doi.org/10.5281/zenodo.13448529.

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Abstract:

(Uploaded by Plazi for the Bat Literature Project) During a survey of the mammals of the Chinati Mountains State Natural Area (CMSNA), 934 individuals of 10 species of bats were captured from nine locations. An additional five species occur elsewhere in the Chinati Mountains (Schmidly 1991) and probably occur on the CMSNA as well. Antrozous pallidus was the most abundant bat, followed by Parastrellus hesperus, Myotis velifer, Tadarida brasiliensis, M. californicus, M. thysanodes, Mormoops megalophylla, Eptesicus fuscus, M. volans, and Lasiurus cinereus. A total of 34 species of non-volant mamm

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14

Jones, Clyde, Mark W. Lockwood, Tony R. Mollhagen, Franklin D. Yancey, and Michael A. Bogan. "Mammals of the Chinati Mountains State Natural Area, Texas." Occasional Papers Museum Texas Tech University, no. 300 (July 17, 2011). https://doi.org/10.5281/zenodo.13448529.

Full text

Abstract:

(Uploaded by Plazi for the Bat Literature Project) During a survey of the mammals of the Chinati Mountains State Natural Area (CMSNA), 934 individuals of 10 species of bats were captured from nine locations. An additional five species occur elsewhere in the Chinati Mountains (Schmidly 1991) and probably occur on the CMSNA as well. Antrozous pallidus was the most abundant bat, followed by Parastrellus hesperus, Myotis velifer, Tadarida brasiliensis, M. californicus, M. thysanodes, Mormoops megalophylla, Eptesicus fuscus, M. volans, and Lasiurus cinereus. A total of 34 species of non-volant mamm

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15

"More Than a Museum: The Chinati Foundation, Home of the Brave." Panorama, 2022. http://dx.doi.org/10.24926/24716839.14506.

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16

Adrian, Kohn. "See Like Irwin, Chinati Foundation Newsletter, vol. 12, 2007, pp. 20–31." June 9, 2017. https://doi.org/10.5281/zenodo.804542.

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Robert Irwin learned to see more by studying the stripes in 'Crazy Otto' for days, gazing at different visual densities in front of the dot and disc paintings, and staring for hours into the silent darkness of an anechoic chamber. One can develop similar skills at the Chinati installation in Marfa, Texas. Having accumulated this knowledge though, Irwin warned against attempting to distill or translate it. In a 1978 symposium at the Philadelphia Museum of Art, he proposed a thought experiment: 'Name all the events in a moment of perceptual experience. Do we have enough words to adequately refle

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17

Adrian, Kohn. "A Way to Look at Things by Not Forgetting Their Names, Chinati Foundation Newsletter, vol. 20 (2015), pp. 52–63." June 9, 2017. https://doi.org/10.5281/zenodo.804552.

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Actually I am not so sure that to look hard at a thing is to forget its name — Valéry’s hasty quip which says as much seems to duck the troublesome and ever-present tangle of sights and words. For, try as I might, I never quite break free from language when I take in a work of art by Irwin; studying it involves in some basic way either recognizing by name that which already has one, or else discovering that what is there does not yet have a name. Perhaps Valéry got it wrong on purpose, though. He may have wished to disrupt at any cost our habit of glancing at something in front of us only for

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18

Kohn, Adrian. "Ver Como Irwin." October 15, 2007. https://doi.org/10.5281/zenodo.3526201.

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En un simposio organizado por en 1976 el Philadelphia College of Art, Robert Irwin hizo una declaración extraordinaria: “No creo que nadie sepa tanto como yo acerca de lo que yo hago”, afirmó, “ni que nadie sea más concienzudo al respecto que yo”. Esta aseveración fue franca, atrevida e incontrovertible. Sin embargo, Irwin sintió la necesidad de explicitar el hecho: cabe recordar que los artistas mismos son los expertos sobre su propio arte, una verdad que parecen ignorar algunos articulistas y muchos estudiosos del arte. A Irwin

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19

Adrian, Kohn. "A Look at John Chamberlain's Lacquer Paintings, in It's All in the Fit: The Work of John Chamberlain (Marfa, Tex.: Chinati Foundation, 2009), pp. 85–118." June 9, 2017. https://doi.org/10.5281/zenodo.804546.

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Knowledge founded on perception always stays flexible. Imposed intellectual interpretations remain rigid, eliminating discrepancies if sensations vary from that which is expected. When viewing art, as with everyday existence in the world, a willingness to just perceive means learning, again and again, what one did not know before, even though things seem perplexing at first. John Chamberlain recognized this potential, claiming that “a work of art can give you a lot [of] things you don’t need. But you can also savor it and keep it in reserve because tomorrow you may need it.' Discovery begins w

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20

Kohn, Adrian. "Una manera de mirar las cosas no olvidándose de sus nombres." October 15, 2015. https://doi.org/10.5281/zenodo.3526209.

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En realidad, no estoy tan seguro de que mirar atentamente una cosa sea olvidarse de su nombre: el chiste apresurado de Paul Valéry (“mirar, es decir, olvidarse de los nombres de las cosas que uno ve”) que así lo manifiesta parece eludir el problemático y siempre presente embrollo de visiones y de palabras. Porque, por mucho que lo intente, jamás me libero lo suficiente del lenguaje cuando asimilo una obra de arte de Irwin; estudiarla supone de alguna manera básica reconocer por su nombre aquello que ya tiene uno, o bien descubrir que lo que est&aa

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21

Kohn, Adrian. "Some of What It Is That Donald Judd Comes to Find Out with Respect to Space." October 15, 2019. https://doi.org/10.5281/zenodo.3526076.

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Time is wasting. (“It’s a short life and a little speed is necessary,” Donald Judd remarks in 1983, age fifty-five. Next, in ’87, “the long extent of time compared to life, which is very short, is quite obvious.” In ’89, “I have a short life” and “it’s not news that life is short.” In ’92, “is life big or little? It’s short.” Then in a text from ’93, written just months before he passes, “the new work seemed to be the beginning of my own freedom, with possibilities for a lifetime. The po

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22

Kohn, Adrian. "Parte de lo que Donald Judd llega a descubrir con respecto al espacio." October 15, 2019. https://doi.org/10.5281/zenodo.3526213.

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Se está agotando el tiempo. (“La vida es breve y un poco de velocidad es necesaria,” comenta Donald Judd en 1983, con cincuenta y cinco años de edad. Luego, en 1987, “El largo alcance del tiempo comparado con la vida, que es muy breve, es bastante obvio.” En 1989, “Tengo una vida breve” y “No es ninguna noticia que la vida sea breve.” En 1992, “¿La vida es grande o pequeña? Es breve.” Luego en aquel texto de 1993, “La obra nueva parecía ser el comienzo de mi propia libertad, con posibilidades d

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23

Kohn, Adrian. "A Way to Look At Things by Not Forgetting Their Names." October 15, 2015. https://doi.org/10.5281/zenodo.3526084.

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Try as I might, I never quite break free from language when I take in a work of art by Robert Irwin; studying it involves in some basic way either recognizing by name that which already has one, or else discovering that what is there does not yet have a name. Perhaps Paul Valéry got it wrong on purpose, though, when he wrote that "to look [is] to forget the names of the things that one sees." He  may have wished to disrupt at any cost our habit of glancing at something in front of us only for the sake of identifying and classifying it with a term. To truly see such a

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