Chinati Foundation Newsletter Vol17
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Chinati Foundation newsletter vo l 1 7 Chinati Foundation newsletter vol 17 CF_newsletter_v17_2012_cover_plano.indd 1 19-09-12 21:54 On Donald Judd Contents 2 The Whole Judd, Marianne Stockebrand 16 Judd, Bagpipes, Tartans, and Time, Contenido Sterry Butcher 20 Photographs by Luisa Lambi , (15 WORKS IN CONCRETE), 1984. (15 WORKS IN CONCRETE),1984. , H BY FRANK BENSON, 2012 H P UNTITLED Artists on (and in honor of) John Chamberlain , DD HOTOGRA JU P 32 Amy Sillman D For Spanish text, 40 Mark Flood PHONE please turn to page 86. DONAL i por favor, diríjase 44 James Rosenquist a la página 86 48 Oscar Tuazon 50 Chamberlain on Chamberlain On Jean Arp 54 Looking at Arp (reading Judd), Arie Hartog 57 Hans Arp & Donald Judd, Arie Hartog 58 Jean Arp, Donald Judd Chinati Foundation newsletter vol 17 CF_newsletter_v17_2012_cover_plano.indd 2 19-09-12 21:54 60 The Five Elements, Hiroshi Sugimoto 106 Staff News 64 Conservation Report on Monument 106 Community Garden to the Last Horse, Bettina Landgrebe 107 College and University Internship Program Artists in Residence, 2011–2012 74 Justin Almquist 109 Friends of Chinati & Funding 76 David Fenster 78 Rob Fischer layout 110 Membership 80 Karl Haendel TBC 81 Frank Benson image resolution 112 Visitor Information 82 Ester Partegàs too low 113 Colophon, Credits, Board, 84 Benefit Print by Charline von Heyl Staff, Acknowledgements ), 1984. ), NCRETE O , 2012 C N O IN S K R BENS K RAN (15 WO (15 Y F Y B UNTITLED GRAPH , O T O UDD J PH NE O NALD H P DO i 1 Donald Judd, untitled, (16 wall works in plywood, detail), 1976. Chinati Foundation All works of art and furniture pages 2-15 by Donald Judd. 2 This talk was first given in the German original in Septem- ber 2011 at the Pinakothek der Moderne, Munich, then in its English translation in Marfa on May 12, 2012, and is here pub- lished in a slightly edited version. To speak of “The Whole Judd” is of course an incredible decla- ration and one that can only be justified as a headline. Never- theless, I intend to move beyond the stereotype of the “artist of boxes” in order to outline a more complex figure. Donald Judd was highly productive, and in many different areas. He started out as a painter, moved on to three-dimen- sional objects, made prints throughout his life, drew prolifi- cally, wrote exhibition reviews and essays, practiced architec- ture (although he didn’t call himself an architect because he didn’t have a license) and renovated first his own building in New York and subsequently his residence in Marfa, Texas, and finally founded a museum—the Chinati Foundation—also in Marfa. In addition to the completed architectural projects there are a large number of unrealized ones that exist only in the form of sketches and plans. He designed furniture, which he considered part of his architecture. The first pieces were made purely for personal use because nothing suitable was available for purchase in West Texas; later the range of designs was expanded to include tableware, textiles, jewelry, and so on. Finally, Judd also ranched, and in this capacity served as a guardian of the landscape. He purchased large parcels of land not far from Marfa and kept only a small number of cattle because the land had been overgrazed and needed to rest. To Marianne Stockebrand respect nature was of the highest order. 3 By the time he died in February of 1994, at age 65, Judd had the challenges ahead, namely the responsibility of giving valid created an oeuvre comprising hundreds of paintings, sculp- responses to life. Naturally, these valid responses had yet to be tures, prints, as well as sketches for sculptures, architecture, found. and prints. His written work included approximately 600 exhi- The education in Virginia didn’t meet his expectations, and bition reviews from the early 1960s and about 100 essays pub- Judd returned to the Art Students League in New York and lished between 1969 and 1993, alongside many unpublished also enrolled at Columbia University. He entered the philoso- texts. He left behind a considerable personal collection of art phy department and took courses in ethics, social philosophy, and design, an extensive library, as well as an inventory of real geology, religious philosophy, history of English literature, and estate. In addition to the building on Spring Street in New sociology. His first notes were made in relation to Plato’s Re- York—a cast-iron structure from 1870—are two former air- public and its philosophical principles. During his second se- plane hangers from World War I that he adapted for his home, mester he studied Aristotle, Descartes, William James’ Essays a half dozen formerly commercial buildings in Marfa such as a in Pragmatism, and Schopenhauer. Later he specialized in the bank, supermarket, and hotel, which he furnished with artwork metaphysics of Plato and Aristotle, attended lectures on the and furniture—both his own work and his collection of others’. philosophy of science and empiricism, and took courses in He owned three ranches south of Marfa and also renovated ethics, the history of philosophy, and propositional calculus. the houses located there. Finally, Judd left behind a museum Finally he studied John Locke’s essay Concerning Human Un- that is recognized as one of the most significant places for art derstanding and David Hume’s Treatise of Human Nature.3 In internationally, as the artworks come to light in a way that is the fall of 1953 Judd received his Bachelor of Science summa rarely seen elsewhere. cum laude. What unites these activities, and do they add up to more Throughout his time as a philosophy student, he contin- than the sum of their parts? Judd was a complex and not eas- ued to pursue his painting—typically structures and figures— ily deciphered figure. Each one of his individual activities pro- and participated in his first exhibitions during these years, vides enough material for extensive study. I will describe his and twice received a first prize for drawing and printmaking. immense output not separated by categories, but under aspects Further exhibitions were held in 1952 and 1955, each receiv- that can serve as illuminating factors in considering his total ing positive recognition in the press. Judd, however, was not oeuvre. satisfied. He knew he needed to deepen his knowledge and In 1948 Judd wrote a text that suggests the beginning of returned to Columbia to study art history. Among other pro- his professional development. He was just 20 years old and fessors, he chose the extraordinary art historians Rudolf Witt- had recently started his art studies—first at the Art Students kower and Meyer Shapiro, and attended lectures on Baroque League in New York and then at William and Mary College in painting and sculpture, Renaissance architecture, and Venetian Virginia, where he wrote this—largely self-referential—essay. painting, as well as pre-Columbian art, art from the Far East, In it, he says: aesthetics, Impressionism, and Modern and American paint- The painter of pictures during his student years at one of the coun- ing. Although he wanted to complete his Masters with a thesis try’s numerous and frequently incompetent art schools is in a be- on Ingres, this never happened, as Wittkower was not particu- wildering position. In fact, he was in this position even prior to his larly interested in the subject. By the time Judd left the uni- entrance into art school, when the decision of whether his work versity in the summer of 1959 he had a solid knowledge of art indicated sufficient talent and skill to merit basing a career upon history and philosophy that would complement and enrich his it was thrust at him after years of hesitancy. This decision, which experience as a painter. only he himself could determine and justify, had to be right, per- In the meantime his painting had become more expansive. manently right, for the several years that he would spend in school There were still echoes of landscapes or objects, but amor- painting would be entirely disregarded as formal education by any phous and edgy forms now predominated and appeared to dis- future employer of his in another profession.1 solve the figure-ground relationship (fig. 1). One cannot speak Judd appears impressed by the achievements of the great mas- of uniformity in the style; instead a sense of exploration and ters and the many isms, and he fluctuates between hopelessness experimentation dominated until 1959. and excitement. Finally he acknowledges that the life of an art From then on, things began to accelerate and change. In student is satisfying. He continues, the summer of 1959, when he was 30, Judd took the position Intent at his work the painter can forget his many serious worries of art critic for Arts (later named Arts Magazine), and with such as the choking patronage of the poets, the lack of a good mar- just a short interruption he continued to write reviews until ket, the ignorant ranting of the critics, the American provincialism, the spring of 1965. During these five years he wrote more than and the art propaganda that is ruining his public. These may be 600 reviews of almost that many artists. Most of the articles important but more vital to the student of painting is an honest, dealt with contemporary or modern art, although there were firm interpretation of his subject and despite being tossed back and also texts on African art, Neapolitan painting, the evolution forth in perpetual controversy he must, with solid years of work, of representations of the Buddha, on French masters of the build out of his experience, paintings which will be valid responses 18th century, and other historical themes.