DOCSLIB.ORG

There Are a Lot of Rectangles in the World and One That I Have Made Exists As One of Them

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
There Are a Lot of Rectangles in the World and One That I Have Made Exists As One of Them “There are a lot of rectangles in the world and one that I have made exists as one of them. The idea of a rectangle exists only as an idea, which is easy for rectangles and difficult for most ideas.” Donald Judd, 2000 [1] Donald Judd Untitled, No. 85–065, 1985 Aluminum 30 x 120 x 30 cm Hermann und Margrit Rupf-Stiftung, Kunstmuseum Bern © Donald Judd, VEGAP, Bilbao, 2016 Donald Judd (Excelsior Springs, Missouri, USA, 1928–New York, USA, 1994) studied philosophy, fine arts and art history in New York. He started his artistic career as a painter in the 1940’s while he earned a living writing criticism in art journals. Dissatisfied with painting, towards the end of the 1950s he began to seek new forms of expression and developed a keen interest in sculpture and architecture. His inquiry and exploration into three-dimensional art dovetailed with other artists of his generation taking an increasing interest in the physical environs of the work, which they regarded as an integral part of it [2]. These artists, known as minimalists, began to create based on simplified geometric shapes, using industrial materials and challenging the traditional notions of art. Minimalism emerged as a force counter to Abstract Expressionism. While Abstract Expressionism focused on gestural, intuitive expression, Minimalism referred solely to the materials and their arrangement in or relationship with space. The work of art thus became a product of interpretation among the object, the viewer and the space where it is located [3]. 1 The works created by Judd in the 1980’s were classified as minimalist, even though the artist denied being affiliated with this artistic movement. He did not like this label, even though he shared many of the principles of the movement, such as the use of industrial materials to create abstract works that highlighted the purity of the color, shape, space, and materials [4]. During this same period, Judd began to build a series of aluminum boxes. Untitled No. 85-065 is one of them, an abstract sculpture that Judd designed in 1985 to be mounted on the wall. It is made up of different-colored modules of the same size and proportions; it is crafted of aluminum in the shape of an open box. The use of pure geometric shapes was one of the main objectives of Judd’s works. To highlight them, the artist paid special attention to color, which he applied using industrial techniques such as thermo-lacquering or galvanization. The enamel colors he used to paint the aluminum panels of Untitled No. 85-065 were chosen from a list of standard industrial colors instead of being created exclusively for Judd [5]. Both Judd and the other minimalist artists rejected the idea that art should reflect personal ideas and be a medium of expression for artists. For this reason, he did not use color to express his feelings or moods but instead simply to delimit the space [6]. However, the juxtaposition of colors was the essential part of the work: Judd approached arranging the color with a mathematical acuteness, deliberately coordinating the work in such a way that no rectangular color block would touch another unit of the same color in order to avoid more obvious harmonies or contrasts [7]. He distributed these colors around the work without seeking to create a harmonious whole. The artist preferred to describe his style and oeuvre as “the simple expression of complex thinking” [8]. To Judd, his pieces, which he called “specific objects,” were neither paintings nor sculptures but simply autonomous objects which were merely self- referential since they did not represent anything else [9]. These objects were created in factories using everyday industrial materials with the intention of eliminating any kind of personal imprint. Untitled No. 85–065 is a specific object made with painted aluminum panels. It is an exploration of space and color in which techniques and materials from industrial manufacturing were used. QUESTIONS FOR STUDENTS Look carefully at the work. What geometric shapes can you see in it? What material do you think it is made of? What draws your attention in the work? Do you think that the colors of the rectangles are placed randomly or are they deliberate? Why? Justify your answer. This work was designed to be mounted on the wall. How would your perception of it change depending on its placement? Would it be different if it were placed atop a pedestal? What if it were resting directly on the floor? 2 According to the artist, before he created his first works, sculptures were always displayed on a stand in museums and never placed directly on the floor [10]. Do you think that works are viewed the same way if they are on a stand or on the floor? How would your perception of this work change if you saw it on a stand, floating on the wall, or resting on the ground? Which one would you prefer and why? Do you think the artist should be the one to decide how his or her work should be displayed, or should an expert in exhibitions decide? Many works from 1985 were designed by Judd and crafted in his studio in Texas, USA, following his instructions. It is a common fact that the artist often had assistants or industrial manufacturers build his works following his instructions, while he never touched them. What do you think about Judd’s working procedure? What advantages and disadvantages might it have? Why do you think he chose to work like that? Do you think it is important for the artist to be physically involved in making the work? Are you aware of other artists who work or worked in this same way? Donald Judd said: “If someone says your work is art, it’s art.” [11] Reflect with the class on what you think about this statement. Do you agree or not? Why? ACTIVITIES FOR STUDENTS Create a minimalist work of art First research the Minimalist Art movement: its context, its features, etc. Look for other artists who worked within this movement. Then, at home create a work of art following these criteria: - the piece should be abstract - the shape should be simple and geometric - you should use materials from industrial manufacturing or industrial techniques - you should stress the purity of color - you have to eliminate any kind of mark that shows you have worked on the piece with your own hands Bring your work to class and compare it with your classmates’ works. Reflect on the similarities and differences among the works. Write an essay Explore the website of the Donald Judd Foundation. Look at the art section and examine the artist’s works: http://juddfoundation.org/artist/art/ In what way do you think they 3 resemble each other? In what way are they different? Choose the works you like the best and the least. Write a brief essay justifying your choices. NOTES 1. Donald Judd, “Some aspects of colour in general and red and black in particular”, Donald Judd Colorist, Ostfildern-Ruit, 2000, p. 111 2. https://www.guggenheim.org/artwork/1741 3. http://education.guggenheim.org/new-york/education/school-educator- programs/teacher-resources/arts-curriculum- online?view=item&catid=719&id=21 4. http://www.tate.org.uk/whats-on/tate-modern/exhibition/donald-judd 5. http://www.tate.org.uk/art/artworks/judd-untitled-dj-85-51-t07143/text- summary 6. http://moma.org/learn/moma_learning/themes/minimalism/the-materials-of- minimalism 7. http://www.christies.com/lotfinder/Lot/donald-judd-1928-1994-untitled- 6026220-details.aspx/ 8. http://www.tate.org.uk/whats-on/tate-modern/exhibition/donald-judd 9. https://coleccion.caixaforum.com/artista/-/artista/140/DonaldJudd VOCABULARY Abstract Expressionism: A US painting movement which developed in New York in the 1940s. It was based on defending the free and spontaneous expression of the artist’s emotions without referring to any representation or physical reality. Minimalism: A style that emerged in New York during the 1960s which is characterized by its geometric shapes and the use of minimum resources, that is, reducing the work to the essence and stripping it of superfluous elements. In minimalist art, the viewer’s experience before the work of art is the main focus. RESOURCES Donald Judd Foundation http://juddfoundation.org/ Biography of Donald Judd in Spanish https://coleccion.caixaforum.com/artista/-/artista/140/DonaldJudd 4 Tate Gallery. Information on Donald Judd http://www.tate.org.uk/art/artists/donald-judd-1378 Collection of the Rupf Foundation http://www.rupf-stiftung.ch/?m=4&m2=2&lang=e&show=2&dirid=26 Solomon R. Guggenheim Museum. Resources for educators on Donald Judd http://education.guggenheim.org/new-york/education/school-educator- programs/teacher-resources/arts-curriculum-online?view=item&catid=719&id=21 5 .
Load more

Recommended publications
  • PAJ78 C-04 Ho
    DAN FLAVIN’S CORNER SQUARE Before and after the Mast Christopher K. Ho o begin with an omission: that of Dan Flavin’s comments to Bruce Glaser during a 1964 radio interview entitled “New Nihilism or New Art?” A T participant along with Frank Stella and Donald Judd, Flavin rarely inter- vened, later requesting that even these infrequent comments be excised from the published manuscript.1 Usually seen as an act of deference to his polemical and more articulate peers,2 might this recusal alternatively be read as a determined refusal of the reductivist rendition of modernism proffered if not in practice than in theory by Stella and Judd? Certainly, the shifts Flavin undergoes from the earliest light pieces (produced one year before the Glaser interview) to his later, trademark 1974 corner pieces, testify to this; further, it would appear that Flavin’s proposed alternative circles around, precisely, the notion of omission. I If the notion of omission was always lodged within the narrative of modernism in the form of a kind of ever-receding horizon, the impossible situation that art found itself in the 60s was that this horizon was arrived at in the guise of the monochrome and blank canvas. By 1962, Clement Greenberg declared, “a stretched or tacked-up canvas already exists as a picture—though not necessarily as a successful one.”3 This shift in strategy—from positing art as an internally motivated formal progression towards flatness to a far more idiosyncratic assessment of success or failure—not only bespeaks a breach, perhaps irreparable,
    [Show full text]
  • John Mccracken Born in 1934, Berkeley, US Biography Died in 2011
    John McCracken Born in 1934, Berkeley, US Biography Died in 2011 Education 1965 California College of Arts and Crafts, Oakland, US 1962 California College of Arts and Crafts, Oakland, US Solo Exhibitions 2017 'John McCracken' , David Zwirner, New York 2016 ‘John McCracken’, The Elkon Gallery, New York, US 2015 ‘Red, Black, Blue’, Franklin Parrash Gallery, New York, US 2013 ‘Works from 1963-2011’, David Zwirner, New York, US 2012 ‘John McCracken’, Henry Moore Institute, Leeds, UK 2011 ‘John McCracken : A Retrospective’, Castello di Rivoli - Museo d’Arte, Rivoli, Turin, IT 2010 ‘New Works in Bronze and Steel’, David Zwirner, New York, US 2009 ‘John McCracken’, Inverleith House, Royal Botanic Garden, Edinburgh 2008 ‘John McCracken’, David Zwirner Gallery, New York, US 64 rue de Turenne, 75003 Paris 18 avenue de Matignon, 75008 Paris [email protected] 2007 - ‘Documenta 12’, Kassel, DE Abdijstraat 20 rue de l’Abbaye Brussel 1050 Bruxelles [email protected] 2006 - ‘Donald Judd & John McCracken: Selected Sculpture’, John Berggruen Gallery, San Grosvenor Hill, Broadbent House Francisco, US W1K 3JH London ‘New Work’, David Zwirner Gallery, New York, US [email protected] - 39 East 78th Street 2005 New York, NY 10075 ‘Early Sculpture’, Zwirner & Wirth, New York, US [email protected] - 27 Huqiu Road, 2nd Floor 200002 Shanghai China [email protected] - www.alminerech.com ‘Eighties’, Galleria Massimo De Carlo, Milan, IT ‘John McCracken + Paul McCarthy’, Galerie Hauser & Wirth, CH ‘Turrell + McCracken’, Godt-Cleary Projects, Las Vegas, US 2004 ‘John McCracken’, S.M.A.K., Gent, BE ‘New sculpture’, David Zwirner, New York, US 2003 ‘New Sculpture’, L.A.
    [Show full text]
  • Treatment of Donald Judd's Untitled 1977
    Article: Treatment of Donald Judd’s Untitled 1977: Retention of the original acrylic sheets Author(s): Eleonora E. Nagy, Bettina Landgrebe, and Shelley M. Smith Source: Objects Specialty Group Postprints, Volume Eighteen, 2011 Pages: 113-125 Compilers: Sanchita Balachandran, Christine Del Re, and Carolyn Riccardelli © 2011 by The American Institute for Conservation of Historic & Artistic Works, 1156 15th Street NW, Suite 320, Washington, DC 20005. (202) 452-9545 www.conservation-us.org Under a licensing agreement, individual authors retain copyright to their work and extend publications rights to the American Institute for Conservation. Objects Specialty Group Postprints is published annually by the Objects Specialty Group (OSG) of the American Institute for Conservation of Historic & Artistic Works (AIC). A membership benefit of the Objects Specialty Group, Objects Specialty Group Postprints is mainly comprised of papers presented at OSG sessions at AIC Annual Meetings and is intended to inform and educate conservation-related disciplines. Papers presented in Objects Specialty Group Postprints, Volume Eighteen, 2011 have been edited for clarity and content but have not undergone a formal process of peer review. This publication is primarily intended for the members of the Objects Specialty Group of the American Institute for Conservation of Historic & Artistic Works. Responsibility for the methods and materials described herein rests solely with the authors, whose articles should not be considered official statements of the OSG or the AIC. The OSG is an approved division of the AIC but does not necessarily represent the AIC policy or opinions. TREATMENT OF DONALD JUDD’S UNTITLED 1977: RETENTION OF THE ORIGINAL ACRYLIC SHEETS ELEONORA E.
    [Show full text]
  • Minimalism & Beyond
    MINIMALISM & BEYOND MINIMALISM & BEYOND MNUCHIN GALLERY ACKNOWLEDGMENTS CONTENTS Mnuchin Gallery is proud to present Minimalism & Beyond. The gallery has a long history of A MINIMAL LEGACY exhibiting some of the finest examples of Minimalist art, including the world’s first-ever exhibition of Donald Judd stacks in 2013, and the group exhibition Carl Andre in His Time PAC POBRIC in 2015. For over 25 years, we have been privileged to live alongside works by many of the artists in this show, including Agnes Martin, Robert Ryman, and Frank Stella, in addition 7 to Judd and Andre. Over this time, we have noted the powerful impact these works have had on the generations of artists who followed, and the profound resonances between these landmark works from the 1960s and some of the best examples of the art of today. Now, in this exhibition, we are delighted to bring together these historic works alongside painting and sculpture spanning the following five decades, many by artists being shown WORKS at the gallery for the first time. This exhibition would not have been possible without the collaborative efforts of the 21 Mnuchin team, especially Michael McGinnis. We are grateful to the generous private collections that have entrusted us with their works and allowed us to share them with the public. We thank our catalogue author, Pac Pobric, for his engaging and insightful essay. We commend McCall Associates for their catalogue design. And we thank our Exhibitions EXHIBITION CHECKLIST Director, Liana Gorman, for her thoughtful and thorough contributions. 79 ROBERT MNUCHIN SUKANYA RAJARATNAM MICHAEL MCGINNIS 7 A MINIMAL LEGACY PAC POBRIC In the photograph, Donald Judd looks appreciative, but vaguely apprehensive.
    [Show full text]
  • Phenomenal California Light, Space, Surface
    PHENOMENAL CALIFORNIA LIGHT, SPACE, SURFACE EDITED BY ROBIN CLARK ESSAYS BY MICHAEL AUPING, ROBIN CLARK, StePHANie HANOR, AdriAN KOHN FOREWORD BY HUGH M. DAVIES AND DAWNA SCHULD MUSEUM OF CONTEMPORARY ART SAN DIEGO UNIVERSITY OF CALIFORNIA PRESS BERKELEY LOS ANGELES LONDON PUBLISHED WITH THE ASSISTANCE OF THE GETTY FOUNDATION WORK AND WORDS the wall behind an Irwin disc. Something like illuminated shadows, maybe. And the right prepositions and verbs are tough to pick out when saying what Bell’s glass does. As you look at or into or through a panel, it both reflects and trans- mits light and obscures the distinction implied there. Such phenomena strain Work and Words the language, and the resulting verbal muddle offers the chance to see, for a Adrian Kohn change, without reading or reading into. LEARNING ESOTERICA It is hard to keep clear how words work as you hold forth on strange art. Meta- Making an art object provides new knowledge about the piece itself, of course, phor, analogy, and other abstract conceits tend to treat a piece under examination but also to some extent about the world in which it exists—about, attested Larry as already well enough understood that it can be tellingly likened to something Bell, “light, physics, matter in general.”1 “As I look back on the early pieces,” he else, another artwork perhaps or a theoretical concept, that is itself regarded as wrote years later, “the thing that is most dramatic about them to me is how much well enough understood to anchor the suggested correlation. Such a structure I learned from them, how much I learned on my own about things that I never presupposes considerable knowledge of both entities to be compared and, for before even considered relevant.”2 That realization prompted another in turn, a that reason, seems unpromising if you are just beginning to learn about either of broader claim on behalf of both his own creations and creative activity at large.
    [Show full text]
  • Artist Resources – Donald Judd (American, 1928-1994)
    Artist Resources – Donald Judd (American, 1928-1994) The Judd Foundation Judd at MoMA “Painting and sculpture have become set forms. A fair amount of their meaning isn’t credible. The use of three dimensions isn’t the use of a given form…three dimensions are most a space to move into.” Judd wrote in his seminal 1964 essay, ”Specific Objects.” “Three dimensions are real space. That gets rid of the problem of illusionism and of literal space, space in and around marks and colors – which is riddance of one of the salient and most objectionable relics of European Art.” The Smithsonian Archives of American Art discussed Abstract Expressionism and the confines of art movements and painting as a medium in a 1965 oral history with Judd. “Usually, when someone says a thing is too simple, they’re saying that certain familiar things aren’t there, and they’re seeing a couple things that are left, which they count as a couple, that’s all, “ he explains. “But actually there may be several new things to which they aren’t paying attention. These may be quite complex…. They may be read all at once… It has to have a wholeness to it.” Judd, 1992 In the 1970s, Judd moved to Marfa, Texas, transforming the Route 67 outpost into a creative mecca through the sculptural and architectural Photography: Leo Holub enhancement of public buildings, disused warehouses, and barren plots of land, now memorialiZed by Judd’s Chinati Foundation. Judd spoke with filmmaker Regina Wyrwroll in 1993 about his love of architecture, projects in Marfa, and the differences between creative pursuits.
    [Show full text]
  • Marianne Stockebrand Respect Nature Was of the Highest Order
    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 diferent 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.
    [Show full text]
  • Richard Serra/Sculpture Release
    The Museum of Modern Art For Immediate Release December 1985 RICHARD SERRA/SCULPTURE February 27 - May 13, 1986 The first American retrospective of the sculpture of Richard Serra opens February 27, 1986, at The Museum of Modern Art. RICHARD SERRA/SCULPTURE features ten works that are among the most innovative investigations of the sculpture medium. Ranging over a twenty-year period, these include a newly created Splash Piece, Prop Pieces, and several site-specific steel works. Other highlights are a sixty-foot piece that will be installed in the galleries and a cone section sited for the Abby Aldrich Rockefeller Sculpture Garden. RICHARD SERRA/SCULPTURE was organized by Laura Rosenstock, assistant curator in the Department of Painting and Sculpture, in collaboration with guest curator Rosalind Krauss, professor of art history at CUNY and author of the exhibition catalog. The exhibition has received support from the New York State Council on the Arts and the National Endowment for the Arts. Since the mid-sixties Serra has been vigorously challenging traditional notions about sculpture and the materials and processes involved in its creation. His projects have inspired both critical acclaim and public controversy and, most importantly, have had a crucial impact upon contemporary sculpture. His work encourages--and often demands--the complete attention and physical involvement of the viewer. As the artist said recently: My sculptures are not objects for the viewer to stop and stare at. The historical purpose of placing sculpture on a pedestal was to establish a separation between the sculpture and the viewer. I am interested in creating a behavioral space in which the viewer interacts with the sculpture in its context.
    [Show full text]
  • DONALD JUDD Born 1928 in Excelsior Springs, Missouri
    This document was updated January 6, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. DONALD JUDD Born 1928 in Excelsior Springs, Missouri. Died 1994 in New York City. SOLO EXHIBITIONS 1957 Don Judd, Panoras Gallery, New York, NY, June 24 – July 6, 1957. 1963–1964 Don Judd, Green Gallery, New York, NY, December 17, 1963 – January 11, 1964. 1966 Don Judd, Leo Castelli Gallery, 4 East 77th Street, New York, NY, February 5 – March 2, 1966. Donald Judd Visiting Artist, Hopkins Center Art Galleries, Dartmouth College, Hanover, NH, July 16 – August 9, 1966. 1968 Don Judd, The Whitney Museum of American Art, New York, NY, February 26 – March 24, 1968 [catalogue]. Don Judd, Irving Blum Gallery, Los Angeles, CA, May 7 – June 1, 1968. 1969 Don Judd, Leo Castelli Gallery, 4 East 77th Street, New York, NY, January 4 – 25, 1969. Don Judd: Structures, Galerie Ileana Sonnabend, Paris, France, May 6 – 29, 1969. New Works, Galerie Bischofberger, Zürich, Switzerland, May – June 1969. Don Judd, Galerie Rudolf Zwirner, Cologne, Germany, June 4 – 30, 1969. Donald Judd, Irving Blum Gallery, Los Angeles, CA, September 16 – November 1, 1969. 1970 Don Judd, Stedelijk Van Abbemuseum, Eindhoven, The Netherlands, January 16 – March 1, 1970; traveled to Folkwang Museum, Essen, Germany, April 11 – May 10, 1970; Kunstverein Hannover, Germany, June 20 – August 2, 1970; and Whitechapel Art Gallery, London, United Kingdom, September 29 – November 1, 1970 [catalogue]. Don Judd, The Helman Gallery, St. Louis, MO, April 3 – 29, 1970. Don Judd, Leo Castelli Gallery, 4 East 77th Street, and 108th Street Warehouse, New York, NY, April 11 – May 9, 1970.
    [Show full text]
  • The Castello Di Rivoli Museum of Contemporary Art Is Proud to Present the Largest Retrospective to Date of the American Artist John Mccracken (B
    The Castello di Rivoli Museum of Contemporary Art is proud to present the largest retrospective to date of the American artist John McCracken (b. 1934, Berkeley, California. Lives and works in Santa Fe, New Mexico). Among the leading historic exponents of the American Minimalism, together with Donald Judd, Carl Andre, Dan Flavin, and other, John McCracken views art as a means of aesthetic and spiritual emancipation and his works are as prototypes for a world to come, one dominated by pure thought and an absolute form of beauty. Convinced that art can give form to a hidden dimension of matter and the universe, reawakening consciousness and enriching our live, McCracken, through the uniqueness of his artistic vision, reveals the true complexity of what we generically call “Minimalism”. John McCracken became famous for what he refers to as “blocks, slabs, columns, planks. Basic beautiful forms, neutral forms.” The starting point for his “neutral form” is a minimalist object or primary structure, such as a cube or a board. Built out of plywood, and subsequently covered with fiberglass and polyester resin imbued with a vivid color, the neutral form transforms into an object that brilliantly combines the anti-illusionism of Minimalism, the colorful effects of car culture, and the idea of an immaterial mental space. Known primarily for these sculptures, McCracken has only recently received attention for his 1970s Mandala paintings, which has led to a new valorization of his oeuvre. (This document was automatically generated by Contemporary Art Library.).
    [Show full text]
  • Moma Judd PREVIEW.Pdf
    JUDD EDITED BY ANN TEMKIN With contributions by Erica Cooke, Tamar Margalit, Christine Mehring, James Meyer, Annie Ochmanek, Yasmil Raymond, Ann Temkin, and Jeffrey Weiss THE MUSEUM OF MODERN ART, NEW YORK CONTENTS 8 FOREWORD Glenn D. Lowry 10 INTRODUCTION: THE ORIGINALITY OF DONALD JUDD Ann Temkin 16–57 PLATES 58 “THE STUDENT OF PAINTING” Erica Cooke 78 HOW JUDD BECAME JUDD James Meyer 92–149 PLATES 150 BERNSTEIN BROTHERS SHEET METAL SPECIALTIES, INC. Annie Ochmanek 170 JUDD AND THE MUSEUM Ann Temkin 188 SENSE OF SITE Jeffrey Weiss 206–51 PLATES 252 ON THE JUDD SCALE: . FURNITURE, ARCHITECTURE . Christine Mehring 272 SWISS MADE: JUDD’S LATE WORK Yasmil Raymond 286 AROUND THE STUDIO: IN CONVERSATION WITH DUDLEY DEL BALSO, JAMIE DEARING, AND ELLIE MEYER Tamar Margalit 295 Exhibition Checklist 298 Acknowledgments 304 Trustees of The Museum of Modern Art Hyundai Card is proud to support this long-awaited retro- spective of the work of Donald Judd, whose revolutionary ideas transformed the language of modern art. Judd’s radical approach to form, materials, working methods, and display established him as one of the pivotal figures of the twentieth century. Bringing together a selection of Judd’s objects, paint- ings, prints, and drawings, the exhibition explores the artist’s provocative use of industrial materials and his bold investigation of form and space. Judd broke open the boundaries of tradi- tional approaches to painting and sculpture through a remark- able spirit of creativity and innovation—values that Hyundai The Henry Luce Foundation seeks to enrich public discourse Card always seeks to pursue.
    [Show full text]
  • LEWITT BIB March 13
    SOL LEWITT Selected Books and Catalogues 2011 Dander, Patrizia and Ulrich Wilmes, eds. A Bit of Matter and a Little Bit More: Daled Collection. Verlag der Buchhandlung Walther Konig, Cologne, Germany, 2011, p. 224- 229. Davidson, Margaret. Contemporary Drawing: Key Concepts and Techniques. Watson- Guptill Publications, New York, NY, 2011, p. 62-63. Extended Drawing: Sol LeWitt, Robert Mangold, Bruce Nauman, Richard Serra, exhibition brochure, Bonnefantenmuseum, Maastricht, The Netherlands, p. 2-19. Weatherspoon Art Museum: 70 Years of Collecting, Weatherspoon Art Museum, Greensboro, 2011, p. 150. Witkovsky, Matthew, ed. Light Years: Conceptual Art and Photograph, 1964-1977, Art Institute of Chicago and Yale University Press; p. 28-29, 246-248. Modern Art, 1870-2000, Taschen, 2011, p. 517-528, 532-533. 2010 Furthermore, Fraenkel Gallery, San Francisco, CA, 2010, p. 16. Getlein, Mark. Living with Art, Ninth Edition, McGraw-Hill Companies, Inc., 2010, p. 154. Corwin, Sharon, Elizabeth Finch, and Lauren Lessing. Art at Colby: Celebrating the Fiftieth Anniversary of the Colby College Museum of Art, Colby College Museum of Art, Waterville, ME, 2009, p. 330-333. Arnason, H.H., and Elizabeth C. Mansfield. History of Modern Art, Sixth Edition, Pearson Education, Inc., Prentice Hall, Upper Saddle River, NJ, 2010, p. 548. 2009 Schellmann, Jörg. Forty Are Better Than One: Edition Schellmann 1969-2009, Schellmann Art Production, Munich and New York, 2009, p. 212-219, 374, 379, 389, 398-399, 403, 413, 427, 433-435. Thomas, Elizabeth. Matrix: Berkeley A Changing Exhibition of Contemporary Art, University of California, Berkeley Art Museum and Pacific Film Archive, 2009, p. 131. Yale University Art Gallery Bulletin 2009, State of the Art: Contemporary Sculpture, Yale University Art Gallery, New Haven, CT, 2009, p.
    [Show full text]