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Un mensaje de Wesley’s work from early on, and Wesley datan de muchos años atrás. wrote his first review in 1963 for Judd había admirado a Wesley desde Arts Magazine. The two artists soon fecha temprana y escribió su primera la directora became friends. After Judd moved to reseña sobre su obra en 1963 para la Marfa and conceived of permanent revista Arts Magazine. Los dos artistas Desde que se encendieron las luces de installations, a Wesley gallery was entablaron pronto amistad. Cuando la instalación de Dan Flavin en octubre part of the plan. Judd collected Judd se trasladó luego a Marfa y empe- del año pasado, nos han preguntado: some paintings and drawings, and zó a concebir instalaciones permanen- “(Y ahora qué?” Muchos amigos y visi- invited Wesley to Marfa where in tes aquí, incluyó entre sus planes una tantes deseaban saber si Chinati au- two consecutive residencies he com- galería para Wesley. Reunió algunas mentaría su colección y, en dado caso, pleted several large canvases. pinturas y dibujos de Wesley y lo invitó qué artistas se incluirían. Judd’s plan to design a building for a Marfa, donde durante dos estadías el Chinati sí tiene pensado agregar más his friend’s works, however, was artista terminó varios lienzos grandes. instalaciones, que serán realizadas de prevented by his death. Pero Judd murió antes de que pudiera acuerdo con los planes de Donald Progress on the project will depend hacer el diseño del edificio para exhi- Judd. A presente, estamos planeando on our fundraising success. We bir las obras de su amigo. la renovación de un antiguo establo hope to be able to start construction Los progresos en este proyecto depen- que se convertirá en galería para exhi- this winter, and expect the project to derán del éxito en reunir fondos. Espe- bir la obra de John Wesley. El edificio take approximately one year to com- ramos comenzar la construcción este se encuentra cerca de los seis últimos plete. John Wesley has generously invierno, y se tardará aproximada- Message from the Director Ever since the lights of the Dan Flavin installation were turned on 8 9 last October, we’ve been asked 9 1 , “What’s next?” Many friends and N O I T visitors wanted to know if Chinati A D N would continue to expand the collec- U O F I tion, and if so, whose work would it T A N I include. H C E Chinati does have plans for addi- H T T tional installations that we will real- A N O ize in accordance with Donald I T I B I Judd’s vision. We’re currently plan- H X E ning the renovation of a former sta- Y E L S ble that will become a gallery for the E W work of John Wesley. The building is N H O located near the last of the six Flavin J buildings and the Arnarsson build- de Flavin y el de Arnarsson, y está created four silk-screens to be pub- mente un año en darle cima al proyec- ing, and its main orientation is to- orientado hacia el sur, hacia las piezas lished as benefit prints for the Chi- to. Con gran generosidad John Wesley wards the southeast, facing Judd’s de concreto de Judd y con una hermosa nati Foundation. The revenue will ha creado cuatro serigrafías, que serán concrete pieces. There is a beautiful vista del paisaje circundante. go, in part, towards the Wesley impresas y cuya venta beneficiará a la view of the surrounding landscape. En los años veintes y treintas fue un es- gallery (see also page 43). Fundación Chinati. Lo recabado se des- The building served as a stable in tablo, en la época cuando el fuerte Rus- I’m also pleased to let you know that tinará, en parte, a la galería de Wesley the twenties and thirties when Fort sell todavía operaba y había soldados Chinati is talking with Robert Irwin (véase también la página 43). D.A. Russell still operated as a cav- de caballería, antes del cambio al uso about a permanent project, possibly Me da mucho gusto asimismo informar- alry post. The low structure has not de vehículos. El edificio, poco alto, no to be realized in a large building les que Chinati está en conversaciones been used since the fort closed in ha sido utilizado desde que el fuerte se that was formerly part of the fort, con Robert Irwin sobre un proyecto 1946, and its ruined condition re- cerró en 1946, así que por el abandono just down the street from the Chinati permanente que se situaría posible- quires extensive renovation. The en que se encuentra será necesaria una site. Since 1970, Irwin has exclu- mente en un edificio grande que antes adaptation to its new purpose will renovación casi total. Al adaptarlo pa- sively conceived his works – both in- formaba parte del fuerte, a poca dis- follow guidelines established by ra su nuevo propósito seguiremos los doors and outdoors – for specific sit- tancia de Chinati. Desde 1970 Irwin ha Judd, respecting the structure’s di- lineamientos establecidos por Judd, uations, altering the place in subtle concebido sus obras–tanto interiores mensions and character, while main- conservando las dimensiones y el ca- ways and emphasizing certain spe- como exteriores–exclusivamente para taining it as an integral part of the rácter de su construcción, asegurando cial characteristics. Irwin frequently situaciones específicas, alterando el lu- compound. al mismo tiempo que forme parte inte- uses scrim as the material to guide gar sutilmente y enfatizando ciertas Similar to the history of Dan Flavin’s gral de Chinati en su conjunto. or diffuse light – stretched areas of características especiales. Irwin utiliza untitled (Marfa project), the plans Al igual que en el caso de la instalación the fabric often serve as planes, re- con frecuencia una malla semitranspa- for a permanent home for paintings sin título (Proyecto Marfa) de Flavin, los flecting daylight that becomes per- rente como material para guiar o tami- and gouaches by John Wesley go planes para albergar en forma perma- ceptible as color. zar la luz; a menudo la delgada tela se back many years. Judd admired nente las pinturas y gouaches de John Irwin’s installations are vulnerable in estira para formar áreas que sirven co- 2 the sense that they don’t last but in- mo planos que reflejan la luz solar, la stead get de-installed, or, in many cual se vuelve visible como color. cases, destroyed once the exhibition Las instalaciones de Irwin son vulnera- is over. Many of his wonderful bles en el sentido de que en lugar de works, filling entire rooms, are only perdurar se desinstalan o, en muchos preserved in photographs. Among casos, se destruyen una vez que se aca- the indoor pieces that still exist are ba la exhibición. Muchas de sus mara- two windows at Villa Litta, Varese, villosas obras, que ocupaban cuartos Italy from 1973, and 48 Shadow enteros, se conservan ahora únicamen- Planes at the former Post Office te en fotografías. Entre las piezas inte- building, Washington D.C. from riores que todavía existen están dos Contenido 1979. The outdoor works that are ventanas en Villa Litta, Varese, Italia preserved include Portal Park Slice, (1973) y 48 Planos-Sombra en el anti- Dallas, 1978; Filigreed Line, Welles- guo edificio de Correos en Washington, 2–3 ley College, Massachussets, 1970; D.C. (1979). Las obras al aire libre con Contents UN MENSAJE DE LA DIRECTORA Two Running Violet V Forms, San que aún se cuenta incluyen Wellesley, Marianne Stockebrand Diego, 1983; 9 Spaces 9 Trees, San Diego, …, y el jardín del Centro Seattle, 1980; and Central Garden Getty en Malibu, California. 2–3 4–6 at the Getty Center, Malibu, 1998. Dada la índole de la Fundación Chinati, MESSAGE FROM THE DIRECTOR LA LUZ EN LA ARQUITECTURA Y EL ARTE: Given the nature of the Chinati Foun- sentimos el impulso y la responsabili- Marianne Stockebrand LAS OBRAS DE DAN FLAVIN dation, we felt the urge and respon- dad de apoyar un contexto en que pue- Sterry Butcher sibility to help support a situation da existir en perpetuidad una obra Ro- 4–6 that would allow a large work by bert Irwin a gran escala. Estamos en la LIGHT IN ARCHITECTURE AND ART: 7–13 Robert Irwin to exist in perpetuity. primerísima etapa de nuestras discu- THE WORK OF DAN FLAVIN EL EXPRESIONISMO ABSTRACTO We’re only at the very beginning of siones, pero independientemente del Sterry Butcher Donald Judd our discussions, but independent of marco temporal y los resultados con- the timeline and the specific results, cretos, nos es importante documentar 7–13 14–25 it was important to us to provide de alguna manera la carrera de Irwin. ABSTRACT EXPRESSIONISM ENTREVISTA CON ROBERT IRWIN some documentation on Irwin’s ca- Por este motivo estamos publicando Donald Judd (1a parte) reer. We are therefore publishing a una lista lo más completa posible de to- Marianne Stockebrand list of indoor and outdoor works that das las obras interiores y exteriores re- 14–25 Irwin has realized since he gave up alizadas por Irwin desde que renunció INTERVIEW WITH ROBERT IRWIN 14–25 painting and sculpture in 1970. a la pintura y la escultura en 1970. Al- (Part 1) OBRAS DE IRWIN PARA Some are illustrated, along with a gunas vienen ilustradas, y se incluye Marianne Stockebrand SITIOS ESPECIFICOS conversation that I had with him last una conversación que sostuve con él en May. We look forward to continuing mayo pasado.
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