Notes

17. Jan Dibbets, quoted in Lippard 1997, p. 209. It should also be mentioned that the Dutch Mountains are revelatory and symptomatic of a cultural belonging. This ‘return to the fold’, which it would be mistaken to take as a manifestation of some excessive kind of particularism, doubtless signals Dibbets’ urge to cut free of a certain artistic ‘internationalization’. As Rudi Fuchs emphatically recalled, ‘Up till the Dutch Mountains, Jan Dibbets’ works were rather internationalist in character. They reflect issues in contemporary image making which were also pursued elsewhere in Europe and America. For a young artistic at that time, 1968-1969, this was a quite normal and logical attitude. Some of the best art was coming from across the Atlantic, and that art looked impressive precisely because it seemed to be free of cultural and nationalist conventions [...] In 1971 Dibbets began the Dutch Mountains which, even if he did employ the same artistic principles as before, suddenly looked very Dutch’ (Fuchs 1979, p. 19).