'The art of a chair is not its resemblance to art, but is partly its reasonableness, usefulness, and scale as a chair.' This publication introduces readers to the furniture designs of renowned artist Donald Judd. Initiated by the renovation of his home and studio at 101 Spring Street in New York, and the difficulty Judd later had in furnishing his home in Marfa, Texas, these furn-iture designs exemplify the directness of form and presence for which his artworks are celebrated, as well as offering a distinct and unadorned functionality. In this book they are presented through detailed drawings and breakdowns of materials, alongside colour photography exploring their effect in situ. As well as surveying a central aspect of Judd's work, Donald Judd Furniture forms an eloquent mediation on functionality, form, and the possibilities of design in a world of mass-production.
Si l'ascension de Donald Judd, figure emblématique de l'art d'après-guerre, aux États-Unis, en particulier à New York dans les années 1960, a fait l'objet de nombreux écrits, ses débuts en Europe sont restés largement méconnus. Dans cet ouvrage, l'éminent professeur Wouter Davidts explore les années de formation de l'artiste dans les Pays-Bas, depuis sa participation à une exposition de groupe au Moderna Museet de Stockholm en 1965 jusqu'à sa première exposition personnelle au Van Abbemuseum d'Eindhoven en 1970. S'appuyant sur de nombreux documents d'archives provenant des Pays-Bas et de Belgique (notamment une interview de Judd pour la BRT datant de 1970, publiée ici pour la première fois), cette publication abondamment illustrée dévoile comment, à l'époque où Judd définissait son langage artistique aux États-Unis, son travail gagnait également une attention institutionnelle et critique significative à travers l'Europe. Un examen passionnant de la portée mondiale et de l'impact durable du minimalisme pionnier de Judd.
The landmark survey of Judd's iconic spaces, featuring new drawing details, archival materials and more.
This second expanded edition presents an unprecedented visual survey of the living and working spaces of the artist Donald Judd in New York and Texas. Filled with newly commissioned and archival photographs alongside five essays by the artist, this book provides an opportunity to explore Judd's personal spaces, which are a crucial part of this revered artist's oeuvre.
From a 19th-century cast-iron building in Manhattan to an extensive ranch in the mountains of western Texas, this book details the interiors, exteriors and land surrounding the buildings that comprise Judd's extant living and working spaces. Readers will discover how Judd developed the concept of permanent installation at Spring Street in New York City, with artworks, furniture and decorative objects striking a balance between the building's historical qualities and his own architectural innovations. His buildings in Marfa, Texas, demonstrate how Judd reiterated his concept of integrative living on a larger scale, extending to the reaches of the Chinati Mountains at Ayala de Chinati, his 33,000-acre ranch south of the town. Each of the spaces was thoroughly considered by Judd with resolute attention to function and design. From furniture to utilitarian structures that Judd designed himself, these residences reflect Judd's consistent aesthetic. His spaces underscore his deep interest in the preservation of buildings and his deliberate interventions within existing architecture.
Donald Judd (1928-94) was born in Excelsior Springs, Missouri. After serving in the United States Army, he attended the College of William and Mary in Williamsburg, Virginia; the Art Students League of New York; and Columbia University in New York, where he completed a BS in philosophy in 1953. Judd was a prolific critic for magazines including Arts, Art International and Art News; he continued to write throughout his career, addressing the relationship of art practice to architecture, design, political action and lived experience in letters and published essays. As an artist, he started out as a painter before turning to three-dimensional work. His radical work and thinking helped shape the art of the late 20th century and continues to influence artists, architects and designers.
Donald Judd Interviews rassemble pour la premières fois 60 entretiens menés par divers artistes et critiques tout au long de sa carrière. L'artiste expose sa visions de sujets aussi divers que la politique, la philosophie ou l'art, revenant particulièrement sur son oeuvre et sur celle des artistes qui l'ont inspiré.
Artworks: 1970-1994 est publié à l'occasion de l'exposition du même nom à la galerie Zwirner New York. Il présente une sélection des oeuvres les plus emblématiques du grand artiste américain avec des analyses sur ses méthodes de production. L'ensemble est accompagné d'une sélection de textes commandés spécialement pour ce livre, où des historiens de l'art, des critiques, des écrivains et des artistes évoquent l'influence majeure de Donald Judd sur la critique d'art.
Coédité avec la Judd Foundation, ce livre constitue la somme la plus complète à ce jour des écrits du célèbre artiste minimal. On y retrouve ses textes les plus connus, mais aussi des textes rares rédigés pour des éditions limitées. Cet ouvrage présente également des écrits inédits pour des conférences universitaires ainsi que des centaines de pages de notes manuscrites, une part jusqu'alors inconnue mais pourtant essentielle de son travail critique.
This is the most comprehensive exploration of Donald Judd's paintings and early works to date, providing unparalleled insight into the pivotal seven-year period in which the revered artist transitioned from two to three dimensions.
Donald Judd's radical work and thinking helped shape the look of the late twentieth century and continue to influence artists, architects, and designers worldwide. He exercised a transformative influence over the ways in which both art objects and practical designs are produced, exhibited, encountered, and used.
While primarily known for his three-dimensional sculptural work, most notably his famed «stacks» and «progressions» series, Judd began life as a painter. Between 1957 and 1963 he produced around eighty works on canvas: distinctive explorations of line, color, and non-representational composition that would directly inform the iconic three-dimensional objects that followed.
This fully illustrated volume is the most comprehensive exploration of Judd's painting and early works to date, providing unparalleled insight into that pivotal seven-year period, and tracing his transition from two to three dimensions. The book features newly commissioned photography of all of Judd's paintings, in addition to his early experiments with wall-based sculptures, as well as extended essays from three leading art historians.
Eileen Costello, historian of modern and contemporary art, discusses Judd's eventual rejection of, or transition from, the canvas in favor of the sculptural form. Sarah K. Rich, an associate professor of art history at PennState, Pennsylvania, and director of its Center for Virtual/Material Studies, deconstructs and analyzes Judd's painterly technique and the resulting works on canvas. Lynn Zelevansky, historian, curator, and former Henry J. Heinz II Director of the Carnegie Museum of Art, Pittsburgh, provides an overview of the period and the peers alongside whom Judd was formulating his paintings and early works.
Donald Judd was born in 1928 in Excelsior Springs, Missouri, and died in 1994 in New York. His work is held in numerous collections including those of the Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; National Gallery of Art, Washington, DC; San Francisco Museum of Modern Art; Tate, London; and Tokyo Metropolitan Art Museum. The Museum of Modern Art presented a major retrospective of Judd's work in 2020-21. In 1986, Judd founded the Chinati Foundation/La Fundación Chinati in Marfa, Texas, for the permanent installation of his large-scale works. In 1977, he established the Judd Foundation in New York and Marfa, Texas.
D'abord publié en 1975 puis réimprimé en 2005, ce livre qui fait figure de classique rassemble les écrits de Donald Judd. L'artiste y traite des oeuvres de 500 artistes travaillant à New York dans les années 1950 et 1960. Il fait ainsi office de critique pour documenter un moment clé de l'art américain. On peut y lire des textes sur Jackson Pollock, Kazimir Malevich, Barnett Newman, Ad Reinhardt, John Chamberlain et Claes Oldenburg, ainsi que son texte de 1965, Specific Objects ou encore le célèbre essai polémique Imperialism, Nationalism, Regionalism.
