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Chinati Foundation Newsletter Vol15

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Chinati Foundation Newsletter Vol15 Chinati Foundation newsletter vol 15 82 Artists in Residence 2009–2010 Artistas en residencia 2009-2010 DAVID TOMPKINS Contents Alex Schweder Folke Köbberling and Martin Kaltwasser Contenido Steve Roden Proximities by | Proximidades, de Steve Roden Bill Saylor Ellen Altfest 2 On Donald Judd’s Concrete Works Melanie Schiff Sobre las obras de Donald Judd en concreto Introduction 101 Chinati: The Vision of Donald Judd James Lawrence A co-publication with Yale University Press Richard Shiff Francesca Esmay 102 Staff News Bettina Landgrebe Noticias del personal Thomas Kellein appointed new Chinati Director 36 Lawrence Weschler: Kelsey Bates Another Easy Piece: the Judd Ant Logan Caldbeck La hormiga de Donald Judd Marella Consolini Dan Shiman 39 Marianne Stockebrand: a Festschrift 104 Origami and Flag-making, Puppets and Poetry, Lectures, Films, and Sunset with Antelopes Emily Rauh Pulitzer Origami y confección de banderas, títeres y poesía, Sterry Butcher conferencias, filmes y puesta de sol con antílope Rackstraw Downes ANN MARIE NAFZIGER Francesca Esmay Tiffany Bell 108 Chinati Weekend 2010 John Wesley Fin de semana en Chinati 2010 Brenda Danilowitz Emily Liebert 110 Kate Shepherd: Benefit Print Ilya and Emilia Kabakov Kate Shepherd: Litografía en beneficio de Chinati Claes Oldenburg Karen Stein 112 Internships Fredericka Hunter Internados Christopher Wool 114 Membership and Funding 64 Richard Shiff: Membresía y financiamiento Projection, Projection Proyección, Proyección 118 Visitor Information Información para visitantes 72 Donald Judd on Kenneth Noland Acknowledgments Donald Judd sobre Kenneth Noland Reconocimientos “In the Galleries,” Arts Magazine, September 1962 Credits/Colophon “In the Galleries,” Arts Magazine, September 1963 Créditos/Colofón “In the Galleries,” Arts Magazine, March 1965 Board of Directors/Staff New York Letter,” Art International (excerpt), April 1965 Mesa directiva/personal 3 On Donald Judd’s concrete works Las Obras en concreto de Donald Judd The following pages present an edited transcript of lectures delivered at an October 10, 2009 symposium on Donald Judd’s freestanding works in concrete. El texto que sigue es una transcripción parcial de conferencias dadas el día 10 de octubre de 2009 sobre las obras en concreto de Donald Judd. 4 marianne stockebrand Introduction Good afternoon, everyone. I would like to welcome you all to this special Chinati Introducción weekend, and especially to the re-opening of Donald Judd’s freestanding works in concrete and to the lecture series this afternoon. In May of 1979, Donald Judd and the dia Art Foundation entered into a con- Buenas tardes a todos. Les doy la bienvenida a este fin de semana tractual agreement regarding “certain large-scale outdoor sculptures, whose design especial en Chinati, y especialmente la reapertura de las obras en concreto de Donald Judd y a la serie de conferencias de esta tarde. and placement were to be determined by the artist’s discretion.” Documents from En mayo de 1979, Donald Judd y la Fundación de Arte Dia the time make clear that Judd had in mind several individual sculptures that were celebraron un contrato relativo a “ciertas esculturas a gran escala to be placed at various sites on the compound, or even outside the compound, but para exteriores, cuyo diseño y colocación serían determinados a discreción del artista”. Documentos correspondientes a esa época somewhere in Presidio County. By 1979, he had already realized a few such outdoor demuestran que Judd tenía en mente varias esculturas individuales pieces in concrete (for instance, in Australia, Germany, and Connecticut, about que debían ser colocadas en varios sitios en los predios de Chinati, o which we will hear more in a moment), and most likely had some similar works in en otros lugares, pero dentro del Condado de Presidio. Ya para 1979 Judd había realizado algunas obras de este tipo (por ejemplo, en mind for Chinati. However, within a few months, Judd reconsidered and devised a Australia, Alemania y Connecticut, sobre las cuales nos informarán more coherent plan. en breve), y es muy probable que tenía proyectadas otras para His first notes and designs for the new concept date from the spring of 1980, and Chinati. Sin embargo, unos meses más tarde Judd cambió de parecer y elaboró un plan más coherente. focus on the only level area of the compound. This level area would ultimately serve to Sus primeros apuntes y diseños datan desde la primavera de 1980 align fifteen works like pearls on a string. The first two works were made at the end of y se refieren sólo a las áreas planas de los predios de Chinati. En esta the same year, 1980, the last ones in 1984. Interestingly, Judd did not design all of the área acabarían por ser instaladas 15 obras como perlas ensartadas. Las primeras dos obras se fabricaron a finales del mismo año, 1980, fifteen works in one shot, as he did with the aluminum pieces, but typically decided y las últimas en 1984. Hay que notar que Judd no diseñó todas las on three or four at a time. Once these had been constructed, he went on to design the 15 obras de una vez, como ocurrió con las de aluminio, sino que next three or four. The design process is documented in a few dozen sketches. They prefirió trabajar con grupos de tres o cuatro la vez. Después de la fabricación de un grupo, procedía al diseño del siguiente. Este pro- show how many variations regarding proportions and configurations Judd entertained ceso está documentado en docenas de bosquejos, que nos enseñan before he settled on the fifteen existing ones. la cantidad de variaciones de proporción y configuración que Judd Judd conceived of the fifteen concrete works in tandem with and in relation to the consideró antes de decidirse por los quince que ahora existen. Judd concibió las 15 obras en concreto en relación complemen- 100 works in aluminum. Both deal, in spite of their very different appearances, with taria con las 100 en aluminio. Ambas series expresan, a pesar de su similar thoughts and emotions, one positioned inside, the other outside. However, the apariencia tan diferente, pensamientos y emociones similares, una concrete works have received less attention from our public, as few make the effort serie exhibida en interiores y la otra en exteriores. No obstante, las obras en concreto no han llamado tanto la atención de nuestro to walk out into the field to experience them close-up and over a period of time. But público, puesto que pocos visitantes se toman la molestia de salir those of us who have the good fortune to see them on a daily basis observe their stun- al campo para observarlas desde cerca y en diferentes ocasiones. ning simplicity in response to the ever-changing light over the course of a day, a week, Pero quienes tenemos la fortuna de verlas diariamente, observamos su asombrosa sencillez como respuesta a la luz siempre cambiante a year. On an overcast morning, they blend into their environment, becoming almost durante el transcurso de un día, una semana, un año. En una mañana indiscernible, while the afternoon sun outlines their contours as if they were cut. nublada se confunden con su entorno, haciéndose casi indistingui- Where the terrain is narrow, Judd oriented these works onto themselves, whereas bles, mientras que el sol de la tarde realza sus contornos como si fueran figuras cortadas. they open up as the terrain widens to form a field. One of the most impressive aspects Donde el terreno es estrecho, Judd orientó estas obras hacia is the entire placement: the works always remain below the horizon, set low into the sí mismas, pero a medida que éste se ensancha las sitúa de forma field, never trying to dominate nature, but trying to make its beauty even more obvi- abierta. Un aspecto notable es la ubicación del conjunto: las obras permanecen siempre por debajo del horizonte, en un plano inferior ous through the clarity of man-made shapes. del campo: nunca intentan dominar la naturaleza, sólo realzar su Chinati determined several years ago that these works required a comprehensive belleza, visualizándola mediante la claridad de formas hechas por la conservation treatment. How this treatment was conducted will be explained shortly mano del hombre. En Chinati nos dimos cuenta hace varios años que estas obras by conservators Francesca Esmay and Bettina Landgrebe. Francesca joined Chinati in debían someterse a una labor exhaustiva de conservación. La 2001 and began planning the treatment of the concrete works in 2003, when it was forma en que este trabajo fue realizado será explicada en breve por discovered that such a treatment was critical. In 2006, Francesca left Marfa and took Francesca Esmay y Bettina Landgrebe. Francesca se afilió con Chinati en 2001 y comenzó a planear el tratamiento de las obras en concreto the position of conservator at Dia Art Foundation, but she has remained a friend, and en 2003, cuando comprendimos que era absolutamente necesario. her interest in this project, and the work of Donald Judd in general, has continued. En 2006 Francesca aceptó el puesto de conservadora de la Fundación Francesca will speak about the first stage of the conservation treatment. In 2007, de Arte Dia y salió de Marfa, pero siguió interesada en este proyecto y en la obra de Donald Judd en general. En 2007, Bettina Landgrebe Bettina Landgrebe succeeded Francesca in the position of Chinati’s conservator. asumió el cargo de conservadora que Francesca había dejado. Bettina Bettina is from Germany, but she has lived in Marfa before, when she was the conser- es alemana, pero ha vivido en Marfa, de 1996 a 2000, cuando fungió vator of the Donald Judd estate in 1996–2000. Her experience with Judd’s work was como conservadora del patrimonio de Donald Judd.
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