Donald Judd

  • On My Shelf

    The above picture shows a collection of books by Loeb classics on philosophy, which Judd studied at Columbia. Turquoise are philosophy, green are latin, red are Greek.  

    Delve into a selection of poetry, prose, fiction and non-fiction that our artists have written or turned to over the years for inspiration, research, escape or education. 

    ‘Words to describe colours are scarce.’ Donald Judd, 1993. 

     

    Donald Judd was always strongly connected to the written word. His immense library contained many volumes on philosophy, geography, art, nature and science which shaped both his artistic and critical practice. He was an avid reader and a prolific critic, writing over 600 essays and reviews which examined the contemporary state of art.

    Judd’s remarkable and vibrant essay ‘Some Aspects of Color in General and Red and Black in Particular’, 1993, demonstrates his incisive and visual use of the written word in an important reflection on colour’s relationship to space. Read the essay below, published in Donald Judd, Galerie Thaddaeus Ropac, 2019. 

    While MoMa’s Judd retrospective is currently closed to the public, you can browse a 30-page catalogue sample online as well as 21 audio clips of artists and writers reflecting on his work.

     

    Click here to download the PDF

     

    Portrait of Donald Judd in catalogue excerpt: Jamie Dearing ©️Judd Foundation

    Banner image: Donald Judd’s Library, La Mansana de Chinati/The Block, Judd Foundation, Marfa, Texas. Image © Elizabeth Felicella © Judd Foundation, Donald Judd Text © 2020 Judd Foundation

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  • Donald Judd's Retrospective at MoMA
    March 1, 2020 - July 11, 2020
    The Museum of Modern Art, 11 West 53 Street, New York

    The Museum of Modern Art’s exhibition Judd, on view in the Steven and Alexandra Cohen Center for Special Exhibitions in the David and Peggy Rockefeller Building from March 1 through July 11, 2020, is the first major US retrospective dedicated to the work of Donald Judd (1928–1994) in over three decades. Presented solely at MoMA, the exhibition explores the remarkable vision of an artist who revolutionized the history of sculpture, highlighting the full scope of Judd’s career through 70 works in sculpture, painting, drawing, and prints, from public and private collections in the US and abroad. Judd is organized by Ann Temkin, The Marie-Josée and Henry Kravis Chief Curator of Painting and Sculpture, with Yasmil Raymond, former Associate Curator; Tamar Margalit, Curatorial Assistant; and Erica Cooke, Research Fellow, Department of Painting and Sculpture, MoMA.

    Donald Judd was among a generation of artists in the 1960s who sought to entirely do away with illusion, narrative, and metaphorical content. He turned to three dimensions as well as industrial working methods and materials in order to investigate “real space,” by his definition.

    “Half a century after Judd established himself as a leading figure of his time, there remains a great deal to discover,” said Temkin. “MoMA’s presentation covers the full arc of his career, aiming to reveal its largely unexpected variety and complexity.”

    “We commend the leadership of MoMA, Ann Temkin, and her team for their in-depth research and their substantial commitment toward this significant exhibition. Don’s work remains as vital today as it was when he created it. We appreciate MoMA providing the opportunity for a new generation to engage with his work in New York,” said Rainer Judd, President, Judd Foundation.

    Judd will be the first full-scale introduction to the artist’s career for many viewers (including a generation born since his last American retrospective in 1988). It will be organized in chronological order to demonstrate an artistic vision that developed in both methodical and utterly unpredictable ways.

    The exhibition begins with a wide selection of paintings, objects, drawings, and prints from the early 1960s, bringing the viewer along on the step-by-step journey that led from paintings to works that were fully three-dimensional. In the mid-1960s, Judd created a fundamental 2 vocabulary of works in three dimensions, including hollow boxes, stacks, and progressions made with metals and plastics by commercial fabricators. These are represented with the inclusion of their early—or even first—manifestations as well as significant ideas that were carried out in a few pieces and then laid aside. The 1970s gallery presents important changes to the work that in part reflect that Judd was re-centering his practice in Marfa, Texas, and working on site-specific pieces elsewhere. His experimentation extended to new levels of scale and types of structure, as well as to the introduction of plywood as a key material. The exhibition’s final gallery presents the aspect of Judd’s career least familiar to American viewers: the works from his last decade, mostly fabricated in Europe, whose chromatic and material exuberance emphatically contradicts the “Minimalist” label that Judd had always rejected.

    Judd’s activity extended far beyond the realm of making works of art. He was a prolific art critic and essayist, deeply committed to democratic and environmental causes, and active in the fields of architecture and design. A “reading room” outside the exhibition entrance will feature Judd-designed furniture. Visitors will be invited to use the furniture and browse the exhibition catalogue, several key books on Judd’s work, and the artist’s own writings. 

     

    Image: Donald Judd. Untitled. 1969. Clear anodized aluminum and blue Plexiglas; four units, each 48 × 60 × 60″ (121.9 × 152.4 × 152.4 cm), with 12″ (30.5 cm) intervals. Overall: 48 × 276 × 60″ (121.9 × 701 × 152.4 cm). Saint Louis Art Museum. Funds given by the Shoenberg Foundation, Inc. © 2020 Judd Foundation / Artists Rights Society (ARS), New York.

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  • Donald Judd | Prints: 1992
    March 1, 2020 - July 11, 2020
    Judd Foundation,
    101 Spring Street, New York

    Judd Foundation is presenting Prints: 1992, an exhibition of a set of an edition of prints by Donald Judd on the ground floor of 101 Spring Street in New York. The exhibition is the first presentation of these prints in New York.

    In the spring of 1991, Judd travelled to South Korea for a solo exhibition of his works in three-dimensions at Inkong Gallery in Seoul. The gallery invited Judd to make a set of prints for a forthcoming exhibition, for which Judd selected a local paper to make this edition. The paper, known as hanji, is made from the inner bark of a mulberry plant that is native to Korea’s rocky mountainsides. The prints have previously been exhibited in The Haags Gemeentemuseum, Hague, Netherlands in 1993; the Itami City Museum of Art, Itami, Japan in 2001; and at the Chinati Foundation, Marfa, Texas in 2013.

    This edition of twenty woodcut prints, comprised of ten pairs, is one of the largest series of prints made by Judd. Each pair has one impression with a printed frame of colour and one where the same colour is reversed and printed as the interior space of the frame. The dividing vertical and horizontal lines are specific to each pair, creating proportions of 1:2, 1:3, 1:4, and 1:5. The grain of the mahogany block is a prominent element of the large blocks of colour. Whereas in his earlier prints Judd regularly printed in one or two colours, by the mid-1980s he began using multiple colours in his woodcuts. He made a similar shift towards the use of numerous colours in his three-dimensional work in the early 1980s with the development of pieces in painted aluminium. This set of prints reflects Judd’s most extensive use of colour in his print practice, with ten colours used across the set: cadmium red, cadmium yellow, cadmium orange, ultramarine blue, cerulean blue, cobalt blue, permanent green, viridian green, black, and alizarin crimson.

    Judd made his first prints in 1951 while studying at the Art Students League in New York. Working first with lithographs, woodcuts became his dominant print medium as early as 1953. Judd also worked with aquatint, etching and screen print techniques, often using multiple techniques to create prints with similar formal qualities. He used the parallelogram, for example, in his three-dimensional works, woodcuts, etchings, and aquatints. Judd’s prints, like his works in three-dimensions, explore symmetry, proportion, seriality, and colour combinations. As he wrote in his 1985 essay, “Symmetry,” the distinction between symmetry and asymmetry arose in his work when the lines of his painting and prints which had been organic, and then curved, later became straight. “This change divided a painting into two parts, the large broad rectangle and the narrow lines,” creating “the problem of where to place them.” Over time, the question of line and symmetry became central to Judd’s print practice.

    In the 1960s and 1970s, Judd’s prints concentrated on monochromatic series. In 1986, Judd developed a set of four woodcuts with a rectangular field of colour printed in brown, blue, red, and green – the first set to contain multiple colours. Each sheet measured 60 x 80 cm, a 3:4 ratio that he worked with consistently from then on. As Marietta Josephus Jitta editor of the catalogue raisonné, Donald Judd: Prints and Works in Editions, wrote in the essay “On Series” in that volume, “The series has something of a declaration. It is simple and almost challenging like the red and blue parallelogram of twenty years earlier. In his graphical work, the series is continually referred to as the basis for new research on the flat surface.” Many of Judd’s later prints, including untitled, 1992-93, on view in this exhibition, built upon the formal innovation of the central rectangle of colour first used in 1986.

     

    In March, Judd Foundation will publish Donald Judd Spaces, the first visual survey of the spaces which comprise Judd Foundation in New York and Texas. It will also expand access to its 101 Spring Street location, introducing guided visits on Sundays and enabling more visitors to directly engage with Judd’s legacy through his formerly private living and working spaces in downtown New York.


    For more information about the publication, click here.
    For more information about the expanded access, click here.

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  • Curator's tour with Flavin Judd, 11am
    May 18, 2019 - May 18, 2019
    Paris Marais

    An intimate tour of the first exhibition of Donald Judd’s work in Paris in nearly 20 years. It will provide an in-depth overview of Judd's life and artistic process, along with an expanded insight into many of the works on display. Led by the exhibition's curator, Flavin Judd, Artistic Director, Judd Foundation.

    Bringing together key works selected, spanning three decades from 1963 to 1993, the show constitutes a diverse overview of Judd’s distinctive use of industrial materials and reveal the artist's continuing investigation into the nature of space, form and colour.

    On view through 15 June

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  • Judd Foundation | Call for Work
    April 1, 2019 - August 17, 2019

    Judd Foundation is pleased to announce a call for works to initiate a public research phase of the Donald Judd Catalogue Raisonné project focused on the documentation of artworks—paintings, objects, and wood-blocks—by Donald Judd.

    The call for works aims to supplement current data and will inform a following publication phase. Building upon archival research by Judd Foundation and scholars, it seeks to engage collectors, galleries, and institutions in the research of Donald Judd artworks. The Donald Judd Catalogue Raisonné project will culminate in the publication of an updated and expanded catalogue raisonné that will provide a comprehensive source for Judd scholarship.

    Judd Foundation invites owners of Donald Judd artworks to submit relevant information and photographic documentation. Submitted materials will become part of the Judd Foundation Archives with all private collector information treated confidentially. Details and forms are available at juddfoundation.org/catalogue-raisonne

    Catalogue Raisonné Contact
    Ellie Meyer, Catalogue Raisonné Research Manager
    cr@juddfoundation.org Tel +1 432 729 4406 ext.102

    Judd Foundation

    P.O. Box 218

    Marfa, Texas 79843

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  • Galerie Thaddaeus Ropac to Represent Donald Judd and Judd Foundation in Europe
    From November 2, 2018

    Galerie Thaddaeus Ropac is pleased to announce the representation of Donald Judd and Judd Foundation in Europe. The close collaboration with the Foundation will be inaugurated by a solo exhibition of works by Donald Judd (1928-1994) in Galerie Thaddaeus Ropac’s Paris Marais gallery in April 2019, the first dedicated show of his works in France for almost 20 years. The exhibition will be curated by the artist's son Flavin Judd, Artistic Director of Judd Foundation.

    “The architecture of Galerie Thaddaeus Ropac presents an occasion to exhibit Don’s work within an environment that suits his artwork wonderfully. Through working with the gallery we will develop a compelling programme of exhibitions and initiatives.” Flavin Judd, Artistic Director, Judd Foundation

     “We very much look forward to working with Judd Foundation in representing Donald Judd, one of the most influential artists of the 20th century. Judd challenged and redefined the notion of sculpture, architecture and design. His ground-breaking explorations of the relationship between the object and its environs, his seminal writings on art and his collaborations with other artists remain as influential as ever. To deeply engage with Judd’s work and build upon a truly remarkable legacy alongside the Foundation is a great honour.” Thaddaeus Ropac

    Major works by Donald Judd are currently featured in Galerie Thaddaeus Ropac’s Pantin exhibitionMonumental Minimal, on view until March 2019, which includes his early horizontal work dating from 1986 and two rare monumental vertical MENZIKEN works dating from 1988, each formed in aluminium and coloured Plexiglas.

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