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Chinati Foundation Newsletter Vol9 CF Newsl V9 2004 Corr5 08-09-2004 17:31 Pagina 2 CF_newsl_v9_2004_corr5 08-09-2004 17:31 Pagina 1 Chinati Foundation newsletter vol9 CF_newsl_v9_2004_corr5 08-09-2004 17:31 Pagina 2 Un mensaje de whole, with architecture as the frame. sas—ni la decoración ni los muebles— tional exhibition in the fall of 1993 dre, las cuales están en exhibición per- more than 25 years of collaboration las de los principales museos. Pero por Judd was stubbornly individual parece ser la continuación de nada ya at Paula Cooper’s gallery; the exhi- manente en una instalación diseñada on large-scale projects and revealed esto mismo podemos montar exhibicio- enough to create his own style; none conocido, y su sensibilidad ante el co- bition subsequently traveled to the por el artista. Este año convertiremos the thinking and work methods of nes que en otros museos podrían resul- la directora of his houses—including the decor lor y la forma, y las combinaciones de Kunstverein Köln and the Stedelijk en realidad otro de los sueños de Judd this inspired team. And there were tar imprácticos. El enfoque de nuestro A Message and furnishings—looks like the con- ambos, fue incomparable e incompara- Museum in Amsterdam. Thanks to con la apertura de una galería para las other exhibitions before that: Dan programa de exhibiciones alternantes tinuation of something already famil- blemente certera y en Marfa nos en- Carl Andre’s generosity, 460 sheets pinturas de John Wesley. Wesley y Flavin’s drawings of realized works está en grupos de tamaño mediano de from the En febrero del presente año se inaugu- iar. His sensitivity to color and form contramos de frente con la auténtica of poems have been added to Judd entablaron amistad a principios and sketches for sited installations; un solo artista a la vez. Este año exhi- ró la retrospectiva de la obra de Do- and how these are combined was in- creatividad. Con tan sólo unos cuantos Chinati’s collection and are now on de los sesentas. En 1963 Judd escribió and Ilya Kabakov’s illustrations for bimos cerámicas de Ken Price, todas Director nald Judd en el Museo Tate de Arte Mo- comparable and incomparably sure, toques podía convertir un edificio co- permanent view in an installation su primera reseña sobre Wesley, y más children’s books from the late 50s to hechas durante los últimos diez años. derno de Londres, en conmemoración and in Marfa we find ourselves face mún y corriente en una construcción designed by the artist. This year we tarde hizo planes para que Wesley tu- the late 80s, comprising original Las obras hechas en papel son espe- del décimo aniversario de la muerte del to face with a truly genuine creativi- asombrosa, sin sacrificar nunca su ide- will realize another of Judd’s wishes viera una presencia permanente aquí. drawings as well as the published cialmente adecuadas, sobre todo por- In February of this year the Donald artista. Hacía mucho tiempo que los ty. With just a few deft moves he al de conservar la historia de un edifi- when we open a gallery for the Dichos planes no pasaron de la etapa books, which received their first que pueden revelar diferentes aspectos Judd retrospective opened at the partidarios y admiradores de Judd es- could turn banal buildings into re- cio ni perpetrar una destrucción inne- paintings of John Wesley. Wesley preliminar, y por tanto decidimos reno- public presentation here at Chinati. de la obra de un artista, más allá de las Tate Modern in London, coinciding peraban una exhibición de esta natu- markable structures, without ever cesaria. and Judd first became friends in the var y convertir un edificio que había Although we feel that an important obras contenidas en la colección. Esto with the 10th anniversary of Judd’s raleza. Las últimas exhibiciones pano- wavering from his principle of nei- Judd creó dos obras maestras para la early 1960s; in 1963 Judd wrote his servido como establo, ubicado en una part of our work is devoted to es muy cierto en el caso de los fabulo- death. Many of his followers and rámicas comparables tuvieron lugar en ther eradicating a building’s history Fundación Chinati: las 15 piezas de first review on Wesley, and later de- orilla de nuestra propiedad, a una dis- widening and deepening public sos dibujos de cuaderno de Claes Ol- admirers had been waiting a long 1988 en el Museo Whitney en Nueva nor embarking on unnecessary de- concreto situadas a campo descubierto veloped a plan for Wesley to have a tancia prudente de los colores fluores- awareness of “our” artists, we also denburg y Coosje van Bruggen que ex- time for such an exhibition. The last York y, en 1993 (justo unas cuantas se- struction. y las 100 piezas de aluminio instaladas permanent presence here. Since centes de Dan Flavin. Esta estructura se organize exhibitions of work by other hibimos el año pasado, los cuales comparable overview exhibitions manas antes de la muerte de Judd), en Judd created two masterpieces for en dos antiguos depósitos de artillería these plans hadn’t gone beyond a está convirtiendo actualmente en la artists who may not be represented representan sus más de 25 años de co- took place in 1988 at the Whitney el Museo Wiesbaden en Alemania. La the Chinati Foundation: the 15 con- que Judd había adaptado para que se preliminary stage, we decided to Galería John Wesley. La colección con- in the collection but who were cer- laboración en proyectos a gran escala, Museum in New York, and in selección de las obras del artista y su crete pieces placed out in the open acomodaran a su nuevo propósito. Yo renovate and convert a former stable revelando la planeación y la metodolo- 1993—just a few weeks before his instalación en 13 salas del Tate, reali- and the 100 aluminum pieces in- investigué la creación de estos dos gru- building at the far end of our proper- gía de este dinámico dúo. Y hubo otras death—at the Museum Wiesbaden zadas por Sir Nicholas Serota, han des- stalled in two former artillery sheds, pos de obras y pude reconstruir los de- ty, at a suitable distance from Dan exhibiciones antes de ésta: los dibujos in Germany. Sir Nicholas Serota’s pertado nuevo interés en el artista y which Judd had adapted to fit their talles muy diversos relativos a su con- Flavin’s fluorescent colors. This struc- hechos por Dan Flavin de obras reali- selection of works for London and han generado entusiasmo y una amplia new purpose. I investigated the mak- cepción y su forma final (ver pág. 45). ture is now becoming the John Wes- zadas e instalaciones para sitios deter- their installation in 11 rooms at the respuesta en los medios de comunica- ing of these two groups of works and En ambos casos el proceso demuestra ley Gallery. The collection comprises minados, y las ilustraciones de Ilya Ka- Tate has awakened new interest in ción (ver el informe y comentarios de put together details regarding the el gran cuidado que tomaba Judd a ca- a cross section of his work and, bakov para libros infantiles, hechas Judd’s work and generated enthusi- prensa en la pág. 61). Después de su very different creative processes that da paso. Chinati está fundado sobre la thanks to a number of gifts from the desde finales de los cincuentas hasta fi- asm and far-reaching response in presentación en Londres, la exhibición led to their final outcome (see p. 45). base de un concepto tan claro que se artist himself, we will be able to nales de los ochentas, exhibidas públi- the media (see the report and press fue trasladada al Kunstsammlung In each case the process shows the podría pensar que sabía de antemano change the exhibition from time to camente por primera vez en Chinati, comments on p. 61). After the Lon- Nordrhein Westfalen en Düsseldorf y level of care that Judd took at every qué instalaciones debían ir en qué edi- time and present even more aspects entre las cuales figuraban dibujos ori- don presentation the show traveled de allí será llevada al Kunstmuseum step along the way. Chinati was ficios. De hecho, dedicaba mucho tiem- of his oeuvre. This year we will cele- ginales y libros publicados. Aunque to the Kunstsammlung Nordrhein- Basel, donde permanecerá hasta el 6 founded on such a clear concept that po a la toma de decisiones clave y ela- brate Wesley with the opening of creemos que una parte importante de Westfalen in Düsseldorf and from de enero de 2005. El catálogo, de 250 one can be forgiven for imagining boraba un concepto aplicable no sólo a this new space, and we’ll pay trib- nuestra labor consiste en concientizar there it will go to the Kunstmuseum páginas de extensión, constituye la that Judd knew from the outset which sus propias instalaciones sino también ute to him in next year’s newsletter. al público acerca de “nuestros” artis- Basel, where it will close on January fuente más comprensiva de informa- installations should go into which a las de sus amigos John Chamberlain Judd established the parameters of tas, también organizamos exhibiciones 9, 2005. The 250-page catalog is ción sobre Judd que existe y, además buildings. In fact, he took his time y Dan Flavin. Prefería que los museos the Chinati universe, and it is now de obras de otros artistas que tal vez the most comprehensive and infor- de una bibliografía detallada, contiene over the crucial decisions and devel- se dedicaran a la obra de un solo artis- up to us to grasp and realize the no tengan representación en la colec- mative publication on Donald Judd textos sobre varios aspectos de su vida oped a concept not only to suit his ta, ya que en su opinión sólo así se po- possibilities contained within it.
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