Museum Exhibition Catalogues, Monographs, Artist's Projects, Curatorial Writings and Essays
"I don't like the terms avant garde and academy. The range is from good to bad arists. The good ones have invented their own work, made something to suit them. The rest to varying extents, depend on that invention. So obviously, the good ones lead, but their leadership is a poor way to characterize them; it's unimportant if others follow them because the followers aren't important." Donald Judd, excerpted from Donald Judd: The Complete Writings 1959-1975, published by The Press of the Nova Scotia College of Art and Design.
Published by Judd Foundation/David Zwirner Books. Edited by Flavin Judd, Caitlin Murray.
This comprehensive collection of Donald Judd's writings includes previously unpublished writings and hundreds of notes
Donald Judd: Writings, copublished by Judd Foundation and David Zwirner Books, is the most comprehensive collection of the artist's writings assembled to date. This timely publication includes Judd’s best-known essays organized chronologically with little-known texts previously published in limited editions. This new collection also includes unpublished college essays and hundreds of never-before-seen handwritten notes, a critical but unknown part of Judd’s writing practice.
Judd’s earliest published writing, consisting largely of reviews for hire, defined the terms of art criticism in the 1960s, but his essays as a graduate student at Columbia, published here for the first time, contain the seeds of his later writing, and allow readers to trace the development of his critical style. The writings that followed Judd’s early reviews are no less significant art-historically, but have been relegated to smaller publications and have remained largely unavailable until now.
The largest addition of newly available material is Judd’s unpublished notes--transcribed from his handwritten accounts of and reactions to subjects ranging from the politics of his time, to the literary texts he admired most, from complaints about pluralism in art to his admiration for Giambattista Vico, and through him, Lucretius. In these intimate reflections we see Judd’s thinking at its least mediated--a mind continuing to grapple with questions of its moment, demonstrating the intensity of thought that continues to make Judd such a formidable presence in contemporary art.
Flavin Judd is curator and co-president of Judd Foundation. He is the husband of psychoanalyst Michèle Judd, the father of three children, and the son of Donald Judd for whom he assisted in the making of spaces and the installation of art. For Judd Foundation, he oversees art installations, architectural issues, and design efforts (including the recent restoration of 101 Spring Street in New York). His films, art installations, and architectural designs have won awards.
Caitlin Murray is director of Marfa programs at Judd Foundation, TX, where she has worked since 2008. She is co-editor of The Present Order: Writings on the Work of Ian Hamilton Finlay, (2011). Murray is also co-owner of the Marfa Book Company and an advisory member of Yale Union (YU), a center for contemporary art in Portland, Oregon.
The work of Donald Judd (1928–1994), one of the most significant American artists of the postwar period, has come to define what has been referred to as minimalist art—a label to which the artist strongly objected on the grounds of its generality. The unaffected, straightforward quality of Judd’s work demonstrates his strong interest in color, form, material, and space. With the intention of creating work that could assume a direct material and physical “presence” without recourse to grand philosophical statements, he eschewed the classical ideals of representational sculpture to create a rigorous visual vocabulary that sought clear and definite objects as its primary mode of articulation.
Judd Foundation is a tax-exempt 501(c)(3) not-for-profit organization created to preserve the permanently installed living and working spaces of Donald Judd in New York and Marfa, Texas. The foundation promotes a wider understanding of Judd’s artistic legacy by providing access to these spaces and resources and by developing scholarly and educational programs.
Gallery Reviews, Book Reviews, Articles, Letters to the Editor, Reports, Statements, Complaints
Published by Judd Foundation.
This is the complete, authorized collection of Donald Judd's early art criticism and polemical writings; it includes his landmark essay "Specific Objects" plus more than 500 contemporary art reviews he wrote on key artists and exhibitions of the 1960s.
Complete Writings 1959–1975 was first published in 1975 by The Press of the Nova Scotia College of Art and Design, and since then it has been the primary source for Donald Judd’s early writing. Working as an art critic for the magazines Arts, Arts Magazine and, later, Art International, Judd regularly contributed reviews of contemporary art exhibitions between 1959 and 1965, but continued to write throughout his life on a broad range of subjects. In his reviews and essays, Judd discussed in detail the work of more than 500 artists showing in New York in the early and mid-1960s, and provided a critical account of this significant era of art in America. While addressing the social and political ramifications of art production, the writings frequently addressed the work of such artists as Jackson Pollock, Kazimir Malevich, Barnett Newman, Ad Reinhardt, Lee Bontecou, Yayoi Kusama, John Chamberlain, Dan Flavin, Kenneth Noland and Claes Oldenburg. Judd’s essay "Specific Objects," first published in 1965, remains central to the analysis of the new art developed in the early 1960s. Other essays included in this publication are "Complaints I" (1969), "Complaints II" (1973) and his previously unpublished essay "Imperialism, Nationalism and Regionalism" (1975), all of which establish the polemical importance of Judd’s writing.
Donald Judd (1928–94) was born in Excelsior Springs, Missouri, and after having served in the United States Army, attended the College of William and Mary, Williamsburg, Virginia, and Columbia University, New York, where he received a BS in Philosophy, cum laude, in 1953. Studying at the Art Students League, Judd began his artistic career as a painter and transitioned to three-dimensional work in the early 1960s. Throughout his lifetime, in his writings and his work, he advocated for the importance of art and the artist’s role in society.
PUBLISHER Judd Foundation
BOOK FORMAT Paperback, 8.5 x 11 in. / 240 pgs / 300 bw.
PUBLISHING STATUS Pub Date 3/22/2016 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2016 p. 17
PRODUCT DETAILS ISBN 9781938922930TRADE List Price: $45.00 CDN $60.00
AVAILABILITY In stock
in stock $45.00
UPS GROUND IN THE CONTINENTAL U.S. FOR CONSUMER ONLINE ORDERS
Published by David Zwirner Books. Text by Claudia Jolles, Flavin Judd, Ellie Meyer
The work of Donald Judd (1928–94), one of the most significant American artists of the postwar period, has come to define Minimalist art, a label to which the artist strongly objected. Wanting to create works that could assume a direct material and physical presence without recourse to grand philosophical statements, Judd eschewed classical ideals of representational sculpture and created works that relied on clear, definite objects. Donald Judd: Cor-ten represents the first-ever focused examination of Judd’s works in Cor-ten steel, which he began to produce in earnest in 1989 and would continue to elaborate on until his death in 1994. Cor-ten is an alloy that makes steel more resistant to corrosion, and eliminates the need for paint. With its distinctive red-brown patina, Cor-ten afforded Judd a new medium for exploring the relationship between surface and volume, as well as color and form. Prior to 1989, Judd executed a handful of works in Cor-ten primarily as outdoor commissions or site-specific works. Published on the occasion of the 2015 exhibition at David Zwirner, New York, and and designed in close collaboration with Flavin Judd and Judd Foundation,Donald Judd: Cor-ten sheds new light on a body of work that represents the culmination of three decades of Judd’s output.
Donald Judd (1928–1994) remains one of the most significant artists of the 20th century, whose radical ideas and work continue to provoke and influence the fields of art, architecture and design. Born in Excelsior Springs, Missouri, and after having served in the US Army, Judd attended the College of William and Mary, Williamsburg, Virginia, and Columbia University, New York, where he received a BS in Philosophy, cum laude, in 1953. Studying at the Art Students League, Judd began his artistic career as a painter and transitioned to three-dimensional work in the early 1960s. Throughout his lifetime, in his writings and his work, he advocated for the importance of art and the artist's role in society. His work has been exhibited internationally since the 1960s and is included in numerous museum collections. A major retrospective of the artist's work will be held at The Museum of Modern Art, New York, in October 2017.
Published by David Zwirner Books|Steidl. Text by Richard Shiff. Interview by Jochen Poetter.
This publication documents an exhibition of Donald Judd's work held at David Zwirner in New York in 2011, which presented works drawn from the artist's seminal 1989 exhibition held at the Staatliche Kunsthalle Baden-Baden, Germany. Consisting of 12 identically scaled anodized aluminum works, the historic exhibition at the Kunsthalle Baden-Baden was significant in that it marked the first time Judd used colored anodized aluminum in such a large, floor-mounted format. The combinations of materials, dividers and colors--which differ from box to box--thus determine the singular nature of each work within a finite number of variable possibilities. As such, these works comprise one of Judd's few explorations of color on a large scale. With new scholarship by noted art historian Richard Shiff, in addition to archival material and an interview with the artist by Jochen Poetter, this hardcover provides a focused investigation of one of the key concerns within Judd's practice.
Gallery Reviews, Book Reviews, Articles, Letters to the Editor, Reports, Statements, Complaints
Published by The Press of the Nova Scotia College of Art and Design. Artwork by Donald Judd.
Originally published in 1975, this collection of Donald Judd's writings is now 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, Kazimir Malevich, Barnett Newman, Ad Reinhardt, John Chamberlain, Larry Poons, Kenneth Noland and Claes Oldenburg. His 1965 “Specific Objects” essay, a discussion of sculptural thought in the 60s, is included alongside the notorious polemical essay “Imperialism, Nationalism, Regionalism” and much else.
PUBLISHER The Press of the Nova Scotia College of Art and Design
BOOK FORMAT Paperback, 8.5 x 11 in. / 240 pgs / 300 bw.
PUBLISHING STATUS Pub Date 2/15/2005 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2005 p. 103
PRODUCT DETAILS ISBN 9780919616424TRADE List Price: $55.00 CDN $65.00
Published by D.A.P./Tate. Essays by Rudi Fuchs, David Batchelor, Richard Schiff, Nicholas Serota, David Raskin, and John Jervis.
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 twentieth-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.
Published by D.A.P./Distributed Art Publishers. Edited and with an essay by Thomas Kellein. Texts by Donald Judd.
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, but 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 a basic fact of sculpture. 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.This decisive development is documented here for the first time, from the early work of the 1950s up 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.
Published by Hatje Cantz. Artwork by Donald Judd. Contributions by Martin Engler, William Agee. Text by Dietmar Elger.
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.