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.
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.
Pbk, 8.5 x 11 in. / 240 pgs / 300 bw. | 3/22/2016 | In stock $45.00
Published by Judd Foundation. Edited by Flavin Judd, Rainer Judd. Text by Donald Judd.
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.
Published by The Museum of Modern Art, New York. Edited with text by Ann Temkin. Text by Erica Cooke, Tamar Margalit, Christine Mehring, James Meyer, Annie Ochmanek, Yasmil Raymond, Jeffrey Weiss.
Published to accompany the first US retrospective exhibition of Donald Judd’s sculpture in more than 30 years, Judd explores the work of a landmark artist who, over the course of his career, developed a material and formal vocabulary that transformed the field of modern sculpture.
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. Judd surveys the evolution of the artist’s work, beginning with his paintings, reliefs and handmade objects from the early 1960s; through the years in which he built an iconic vocabulary of works in three dimensions, including hollow boxes, stacks and progressions made with metals and plastics by commercial fabricators; and continuing through his extensive engagement with color during the last decade of his life.
This richly illustrated catalog takes a close look at Judd’s achievements, and, using newly available archival materials at the Judd Foundation and elsewhere, expands scholarly perspectives on his work. The essays address subjects such as his early beginnings in painting, the fabrication of his sculptures, his site-specific pieces and his work in design and architecture.
Donald Judd (1928–94) began his professional career working as a painter while studying art history and writing art criticism. One of the foremost sculptors of our time, Judd refused this designation and other attempts to label his art: his revolutionary approach to form, materials, working methods and display went beyond the set of existing terms in midcentury New York. His work, in turn, changed the language of modern sculpture.
Published by Galerie Thaddaeus Ropac. Text by Catherine Millet.
This publication presents key works by Donald Judd (1928–94), presented in a seminal exhibition at Galerie Thaddaeus Ropac, Paris. Specially made in collaboration with the exhibition curator Flavin Judd, this catalog brings form and content together in an innovative design, and includes full-spread installation views, archival material and photographs, a foreword by Flavin Judd and the exclusive translation of “Some Aspects of Color in General and Red and Black in Particular,” an expansive essay by the artist originally published at the zenith of his career, in 1993.
The essay by renowned art historian Catherine Millet is as incisive as it is personal (Millet interviewed Judd when his work was first exhibited in France).
This important new publication collects more than 20 years of sustained thinking about Donald Judd from one of today’s most respected art historians and theorists. In Sensuous Thoughts, Richard Shiff draws on Judd’s own writing, on the work of the pragmatist philosophers Charles Sander Pierce and William James, and on interviews with many of Judd's contemporaries and close relations, to dramatically enhance the act of looking at Judd’s work.
Across nearly 300 pages, Shiff closely explicates such topics as Judd's dialogues with artists such as Willem de Kooning, Jackson Pollock, Lee Bontecou and Claes Oldenburg, among others; while other essays examine the impact that Judd's writings, such as "Specific Objects," had on his own work.
Sensuous Thoughts also includes 140 color images as both reference throughout and in a dedicated plate section in the back of the book.
Richard Shiff (born 1943) is the author of Doubt: Theories of Modernism and Postmodernism and Writing after Art: Essays on Modern and Contemporary Artists, and is the Effie Marie Cain Regents Chair in Art and director of the Center for the Study of Modernism at the University of Texas at Austin.
Published by Hatje Cantz. Text by Simon Baier, Maximilian Geymüller, Adrian Jolles, Ellie Meyer, Ingolf Planer, Michael Tojner, Gianfranco Verna, Nicholas Fox Weber.
Donald Judd (1928–94) was closely connected to Switzerland. From the early 1970s until his death, the American artist produced significant exhibitions there; more importantly, though his residences in Marfa and New York are legendary, less well-known is the hotel at Eichholteren which Judd transformed into an extraordinary residence on the banks of Lake Lucerne that tests the tensions and affinities between Swiss architecture and Judd’s doctrines.
Judd also collaborated with Swiss industrial firms to produce numerous artworks and design pieces, notably the Menziken Pieces. This new volume sheds light on the artist’s collaborations with Swiss manufacturing firm Alu Menziken AG, and other Swiss companies. Donald Judd & Switzerland also examines the artist’s continuing influence in Swiss art and design. In addition, Judd’s contemporaries in Switzerland offer an expanded picture of Judd’s Swiss years.
Gallery Reviews, Book Reviews, Articles, Letters to the Editor, Reports, Statements, Complaints
Published by Judd Foundation.
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."
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.