Judd, Donald

Donald Judd: Architecture in Marfa, Texas

As one of the most important exponents of American minimal art, Donald Judd (1928–1994) has exerted a lasting influence in the field of architecture. Among the lesser-known aspects of his work is a large collection of architectural designs, which explore the relationship of architecture and art. Of special importance for Judd’s work in this field is a former military fort in Marfa, Texas, part of which he purchased and then, beginning in 1971, systematically transformed into one of the largest existing ensembles of contemporary art.

This book is the first to address Judd’s built work from an architectural perspective. With this in view, the Marfa buildings have for the first time been carefully measured and drawn to scale by the author and his students. Using standard CAD drawings together with historical and contemporary photographs, this volume illustrates Judd’s architectural alterations to the buildings in Marfa, and discusses and describes them in its accompanying text. The result is an invaluable source of inspiration for contemporary architecture.

Donald Judd: The Complete Writings 1959-1975

Originally published in 1975, this collection of Donald Judd's writings is a sought-after classic. His uncompromising reviews avoid the familiar generalizations so often associated with artistic styles emerging during the 1950s and 60s. Here, Judd discusses in detail the work of more than 500 artists showing in New York at that time, and provides a critical account of this significant era in American art. While addressing the social and political ramifications of art production, the writings focus on the work of Jackson Pollock, Kasimir Malevich, Barnett Newman, Ad Reinhardt, John Chamberlain, Larry Poons, Kenneth Noland, and Claes Oldenburg. His 1965 "Specific Objects" essay, discussions of sculptural thought in the 60s, is included as well as Judd's notorious polemical essay, "Imperialism, Nationalism, Regionalism."

Donald Judd: Architecture

One of the leading representatives of Minimalism, Donald Judd's "specific objects," made of steel, wood, aluminum, and Plexiglas, undertook a radical and revolutionary analysis and redefinition of sculpture as it exists in space. Somewhat less familiar are Judd's numerous architectural and furniture designs, works which are closely related in formal terms to his ubiquitous art objects but which much more successfully reflect his concerns with utility. To best understand this aspect of Judd's work, a visit to Marfa, Texas is in order. In 1971, Judd bought an old fort near this small town; by systematically acquiring and transforming more and more local property, he amassed the largest ensemble of contemporary art in the world, with permanent installations of his own work and that of Carl Andre, John Chamberlain, Dan Flavin, and others. Donald Judd: Architecture presents drawings, design sketches, ground plans, and photographs of the grounds and architecture of this Minimalist desert oasis, and bears witness to Judd's role as the visionary architect and stage director of his own oeuvre. This book first appeared in 1991, in German. It has been thoroughly revised and expanded for this, its first English edition.

Design Art: Functional Objects from Donald Judd to Rachel Whiteread

The most comprehensive and authoritative book available on domestic furniture, lighting and design objects of Minimalist and Post-Minimalist artists from the 1960s to the present. Features work by Donald Judd, Sol LeWitt, Dan Flavin, Scott Burton, Robert Rauschenberg, John Baldessari, Rachel Whiteread, Richard Tuttle and Isamo Noguchi.

Donald Judd

One of the most influential American artists of the post-war period, Donald Judd changed the course of modern sculpture. Beginning as an art critic and then a painter, Judd moved into three dimensions with the box-like structures he produced in the early 1960s, either arranged on the gallery floor or mounted on the wall. Initially constructed by hand, the sculptures were later industrially manufactured in galvanized iron, steel, Plexiglas, and plywood. His use of vibrant color, polished and reflective metals, and brightly hued lacquer confounded and continues to confound expectations of what "minimalist" sculpture should look like. This lavishly illustrated survey features 41 works from collections around the world, many of them large scale, each illustrated with full catalogue entries alongside many other major works by Judd. Contributors Nicholas Serota (Director of the Tate), Rudi Fuchs (former Director of The Stedelijk Museum, Amsterdam), American critics Richard Schiff and David Raskin, and British artist and critic David Batchelor explore the conflicts between previous critical interpretations of Judd and his own philosophical, political, and moral understanding of his work. Judd's critical response to the work of other artists is examined, as is the importance of color to his work, and his reaction to new man-made materials and artificially generated color in the late-20th-century environment. A section on Judd's installations at Marfa in Texas, and an extensive new chronology, compiled by Judd's assistant, Jeff Kopie, are also included. Donald Judd compromises the most thorough and up-to-date publication on Judd in print today.

Donald Judd: Late Work

Over the years, Donald Judd's constructions have evolved, becoming increasingly complex in their optical and coloristic effects, making use of Cor-ten steel, Douglas fir plywood, colored plexiglass, painted steel, and various forms of aluminum. This catalogue elegantly displays work made between 1988 and 1994, the year he died.
Essay by Richard Shiff.

9.75 x 11.25 in.
40 color illustrations

Donald Judd: Colorist

Up till now, the question of color has largely been neglected in the extensive reception of [Judd's] oeuvre. This publication, lavishly illustrated with full-page color pictures, concentrates in detail for the first time on this crucial aspect of Donald Judd's work.

Donald Judd: Prints And Works In Editions

Rothko, best known for his late work, is shown in the experimental phase that lead up to it. In his "multiforms," his early surrealism veers toward the more spacious planes of his classical work.

Donald Judd Single Stacks 1964 -1969

Donald Judd: The Early Works 1955-1968

Like no other sculptor today, Donald Judd has informed our understanding of art and its relationship to space. The Panoramas Gallery organized his first solo exhibition in 1957, at a time in which he was still focused on painting, yet moving from the flat picture plane towards the third dimension. His cadmium red pictures cut through with stripes or incisions led the viewer to perceive space as self-evident. From there Judd moved toward a complete abandonment of painting, recognizing, in the early 60s, that "actual space is intrinsically more powerful and specific than paint on a flat surface." His switch from painting to sculpture was coincident with a growing interest in architecture and in industrial processes and materials, such as galvanized steel, concrete, plywood, and aluminum, which he used to create large, hollow, Minimalist sculptures. Documented here for the first time is this very crucial development, from the early work of the 1950s to 1968, the point at which Judd's artistic vocabulary reached its complete formation. Numerous works, including previously unrecorded paintings, sculptures, sketches, and works on paper, appear here alongside unpublished documents and texts by Judd himself.