Endnotes
1“Here we have at once a very important point: even in its simplest form on the animal level, play is more than a mere physiological phenomenon or a psychological reflex. It goes beyond the confines of the purely physical or purely biological activity. It is a significant function—that is to say, there is some sense to it.” Homo Ludens: A Study of the Play Element in Culture (1950) Boston, The Beacon Press, 1955, p.1 2 Friedrich Wilhelm Nietzsche (1844-1900 see “Tokens of a Higher and Lower Culture’ in Human All Too Human, (Eng. Trans., R.J.Hollingdale) Cambridge, Cambridge University Press, 1986, p. 129 (Ger. Menschliches all zu Menschliches, 1878, additions, 1879, 1890) 3 See Kirk Varnadoe and Adam Gopnik, High and Low: Modern Art and Popular Culture, Museum of Modern Art, New York, 1990. At the Kunst Akademie Düsseldorf, his professors for the Master Class were Günter Uecker and Johannes Hüppi (1987-93) 4 For an extended overview of his works, see Thomas Rentmeister Objects. Food. Rooms, Kunstmuseum Bonn and Perth Institute of Contemporary Arts, Dumont Verlag, 2012, and Thomas Rentmeister, Zwischenlandung, Kunsthalle Nuremberg and Museum zu Allerheiligen/Kunsthalle Schaffhausen, 2004. 5 Donald Judd, ‘Specific Objects’ (Art Yearbook 8, 1965), Donald Judd: Complete Writings 1959- 1975, Gallery Reviews, Book reviews, Articles, Letters to the Editor, Reports, Statements, Complaints, Halfax and New York, Press of Nova Scotia School of Art and Design, and New York University Press, 1975, pp. 181-189. The text appears in various excepted forms in Kristine Stiles and Peter Selz (eds.), Theories and Documents to Contemporary Art: A Sourcebook of Artists’ Writings, Berkeley and London, University of California Press, 1996, pp. 114-117; also in Charles Harrison & Paul Wood (eds.), Art in Theory 1900-1990: An Anthology of Changing Ideas, Oxford and Cambridge, USA, Blackwell, 1992, pp. 809-813 6 An interesting approach as to redefining art beyond the conventional categories of ‘minimal’ and ‘post-minimal’, is given in Peter Osborne, ‘Modernisms and Mediations’, Anywhere or Not at All: The Philosophy of Contemporary Art, London, and New York, Verso, 2013, pp. 71-98