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Judd Foundation 101 Spring Street, New York NY 10012 Telephone 212 219 2747 Fax 212 219 3125 104 South Highland Avenue, Marfa TX 79843 Telephone 432 729 4406 Fax 432 729 4614 juddfoundation.org DONALD JUDD SELECTED BIBLIOGRAPHY This document is a selected bibliography of books, monographs, exhibition catalogues, writings on Donald Judd and a few texts by Judd from 1967–1994. 1967 Rose, Barbara. American Art Since 1900: A Critical History. London: Thames and Hudson, 1967. Sanford, Robert K. “Art Speaks, Sculptors Don't; Symposium a Horrible Gag.” St. Louis Post–Dispatch, 2 October 1967. 1968 Agee, William C. Don Judd. Notes by Dan Flavin and selected writings by Donald Judd. New York: The Whitney Museum of American Art, 1968. Arnason, H.H. History of Modern Art: Painting, Sculpture, Architecture. New York: Harry N. Abrams, 1968. Art of the Real. New York: The Museum of Modern Art, 1968. Battcock, Gregory, ed. Minimal Art: A Critical Anthology. New York: E.P. Dutton & Co., 1968. Burnham, Jack. Beyond Modern Sculpture: The Effects of Science and Technology on the Sculpture of This Century. New York: George Braziller, 1968. Kultermann, Udo. The New Sculpture: Environments and Assemblages. London: Thames and Hudson, 1968. 1970 Blotkamp, Carel. “Retrospective in Eindhoven: Judd and the Real Materials.” Vrij Nederland, 24 January 1970. Butterfield, Jan. “Dallas Features Top Sculptor.” Dallas Star Telegram, July 1970. Don Judd. Hannover: Kunstverein Hannover. Selected writings by Donald Judd, 1970. Donald Judd. Text by Jan Leering and selected writings by Donald Judd. Eindhoven: Van Abbemuseum; Essen: Museum Folkwang; and London: Whitechapel Art Gallery, 1970. Frenken, Ton. “Objects of American Donald Judd in Van Abbemuseum.” Brabants Dagblad, 17 January 1970. Fuller, Peter. “Donald Judd: Lisson Warehouse and Whitechapel.” Arts Review, 10 October 1970. Goslin, Nigel. “Boxes on the Border.” The Observer Review (London), 18 October 1970. Kutner, Janet. “Judd Sculptures Offers New Dimensions.” The Dallas News, July 1970. Leider, Philip. “Literalism and Abstraction.” Artforum (April 1970) Reprinted in Don Judd (catalogue), Kunstverein Hannover, West Germany, 1970. Lucie–Smith, Edward. “Little Boxes.” The Sunday Times (London), 4 October 1970. Nemser, Cindy. “Art Criticism and Perpetual Research.” Art Journal (Spring 1970). Niessen, Huub. “Donald Judd in Van Abbe: Kunst Zonder Illusionisme.” 1970. Tisdall, Caroline. “Donald Judd.” The Guardian (Whitechapel), 5 October 1970. 1971 Burnham, Jack. The Structure of Art. New York: George Brazillier, 1971. Chetham, Charles Scott, ed. Modern Painting, Drawing and Sculpture Collected by Louise and Joseph Pulitzer, Jr. Vol. III. Cambridge: Fogg Art Museum, 1971. Don Judd. Text by John Coplans. Pasadena: Pasadena Art Museum, 1971. Friedman, Martin, ed. Twentieth Century Sculpture: Walker Art Center: Selections from the Collection. Minneapolis: Walker Art Center, 1971. Lipman, Jean, et al. The Collector in America. New York: The Viking Press, 1971. 1972 Hunter, Sam. American Art of the Twentieth Century. New York: Harry N. Abrams, 1972. Rosenberg, Harold. The De-definition of Art: Action Art to Pop to Earthworks. London: Secker and Warburg, 1972. 1973 Don Judd: 18 Skulpturen aus qalvanisiertem Eisenblech 1972/73. Cologne: Galerie Heiner Friedrich, 1973. Kröller-Müller State Museum: The Collection. Otterlo: Kröller-Müller State Museum, 1973. Moore, Ethel, ed. Contemporary Art 1942–1972: Collections of the Albright-Knox Art Gallery. New York: Praeger, 1973. 1975 Agee, William C. “Unit, Series, Site: A Judd Lexicon.” Art in America (May/June 1975). Beveridge, Karl and Ian Burn. “Don Judd.” The Fox, no. 2 (1975). Danoff, Michael, ed. The Milwaukee Art Center Gallery Guides to Collections. Milwaukee: Milwaukee Art Center, 1975. Smith, Brydon. Donald Judd: Catalogue Raisonné of Paintings, Objects, and Wood- Blocks 1960–1974. Ottawa: National Programme of the National Gallery of Canada, 1975. 1976 Critical Perspectives in American Art. Texts by Sam Hunter, Rosalind Krauss and Marcia Tucker. Amherst, Massachusetts: Fine Arts Center Gallery, University of Massachusetts, 1976. Donald Judd. Berlin: Kunsthalle, 1976. Donald Judd: Skulpturen. Text by Johannes Gachnang. Bern: Kunsthalle, 1976. Donald Judd: Zeichnungen/Drawings. 1956–1976. Basel: Kunstmuseum Basel; Halifax: The Press of the Nova Scotia College of Art and Design; and New York: New York University Press, 1976. Drawing Now. Text by Bernice Rose. New York: The Museum of Modern Art, 1976. Series. Text by Elizabeth Underhill. London: The Tate Gallery, 1976. Smith, Roberta. “Two Critics Collected.” Art in America (December 1976). 1977 Donald Judd. Interview with Kaspar Konig. Bottrop, Switzerland: Modern Galerie, 1977. The Sculpture of Donald Judd. Text by William C. Agee. Corpus Christie: Art Museum of South Texas, 1977. 1978 The Sculpture of Donald Judd. Tokyo: Galerie Watari, 1978. Works from the Crex Collection, Zürich. Zürich: Sammlung Crex, 1978. 1979 Donald Judd. Eindhoven: Stedelijk Van Abbemuseum, 1979. Emergence and Progression: Six Contemporary American Artists. Text by Michael Danoff. Milwaukee: Milwaukee Art Center, 1979. 1981 Rose, Barbara. Profiles in American Art. New York: Putnam, 1981. Russell, John. The Meanings of Modern Art. New York: The Museum of Modern Art, 1981. 1982 Minimalism x 4. New York: The Whitney Museum of Art, Downtown Branch, 1982. 1983 Wallis, Brian. Donald Judd: Eight Works in Three Dimensions. Charlotte, North Carolina: Knight Gallery/Spirit Square Arts Center, 1983. 1985 1985 Whitney Biennial. New York: The Whitney Museum of American Art, 1985. Affiliations: Recent Sculpture and Its Antecedents. New York: The Whitney Museum of American Art, 1985. Art of Our Time: The Saatchi Collection (Vol. l). Text by Peter Schjeldahl. London: Lund Humphries, 1984 and New York: Rizzoli, 1985. Blam! The Explosion of Pop, Minimalism, and Performance 1958–1964. New York: The Whitney Museum of American Art, 1984. Castleman, Riva. American Impressions: Prints Since Pollock. New York: Alfred A. Knopf, 1985. The Frederick R. Weisman Foundation of Art (Vol. 2). Los Angeles: The Frederick R. Weisman Foundation of Art, 1985. High Styles: Twentieth-Century American Design. New York: The Whitney Museum of American Art, 1985. Imagenes en Cajas. Mexico City: Museo Rufino Tamayo, 1985. Krauss, Rosalind E. The Originality of the Avant-Garde and Other Modernist Myths. Cambridge: The M.I.T. Press, 1985. The Maximal Implications of the Minimal Line. Annandale-on-Hudson, New York: Bard College, Edith C. Blum Art Institute, 1985. The Museum of Modern Art. New York: The Museum of Modern Art and Harry N. Abrams, 1984. New York '85. Marseille: ARCA, Centre d'Art Contemporain, 1985. Raume heutiger Zeichnung: Werke aus dem Basler Kupferstichkabinett. Baden-Baden: Staatliche Kunsthalle, 1985. Repetitions: A Postmodern Dynamic. New York: Hunter College Art Gallery, 1985. Selected Works from the Permanent Collection. New York: The Whitney Museum of American Art, 1985. Selections from the William J. Hokin Collection. Chicago: Museum of Contemporary Art, 1985. Transformations in Sculpture. Text by Diane Waldman. New York: Solomon R. Guggenheim Museum, 1985. Vom Zeichnen: Aspekte der Zeichnung 1960–1985. Frankfurt: Frankfurter Kunstverein. 1985. 1986 1976–1986: Ten Years of Collecting Contemporary American Art – Selections from the Edward R. Downe, Jr. Collection. Wellesley, Massachusetts: Wellesley College Museum, 1986. An American Renaissance: Painting and Sculpture Since 1940. Fort Lauderdale, Florida: The Fort Lauderdale Museum of Art, 1986. Arnason, H.H. History of Modern Art. 3rd edition. New York: Harry N. Abrams, 1986. Art in the Environment. Boca Raton, Florida: Boca Raton Museum of Art, 1986. The Barry Lowen Collection. Text by Christopher Knight. Los Angeles: The Museum of Contemporary Art, 1986. Contemporary Sculpture from the Martin Z. Margulies Collection. Coconut Grove, Florida: Martin Z. Margulies Collection,1986. Definitive Statements: American Art: 1964–66. Providence, Rhode Island: Brown University, List Art Center, David Winton Bell Gallery, 1986. Donald Judd. London: Waddington Galleries, 1986. Donald Judd: Mobel Furniture. Zurich: Arche Verlag AG, 1986. Gohr, Siegfried. Museum Ludwig Cologne: Paintings, Sculptures, Environments from Expressionism to the Present Day. Munich: Prestel-Verlag, 1986. Individuals: A Selected History of Contemporary Art. Los Angeles: The Museum of Contemporary Art, 1986. Painting and Sculpture Acquisitions 1973–1986. New York: The Whitney Museum of American Art, 1986. Philadelphia Collects: Art Since 1940. Philadelphia: Philadelphia Museum of Art, 1986. Qu'est-ce que la Sculpture Moderne? Paris: Musée national d'art moderne, Centre Georges Pompidou, 1986. Stein, Harvey. Artists Observed. New York: Harry N. Abrams, 1986. Van Abbemuseum Besoker Hovikodden. Hovikodden: Henie-Onstad Kunstsenter, 1986. Western's Outdoor Museum. Bellingham, Washington: Western Washington University, 1986. Works from the Paula Cooper Gallery. San Francisco: John Berggruen Gallery, 1986. 1987 1967: At the Crossroads. Philadelphia: Institute of Contemporary Art, 1987. A Century of Modern Sculpture: The Patsy and Raymond Nasher Collection. Dallas: Dallas Museum of Art, 1987. Coleccion Sonnabend. Madrid: Centro de Arte Reina Sofía, 1987. Crone, Rainer and Rudi Fuchs. Donald Judd. Eindhoven: Stedelijk Van Abbemuseum; Düsseldorf: Städtische Kunsthalle; Paris: ARC/Musée d'Art Moderne de la Ville de Paris; and Barcelona: Fundació Joan Miró,
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  • Tramonto Spaventoso April 22–June 5, 2021 456 North Camden Drive, Beverly Hills

    Tramonto Spaventoso April 22–June 5, 2021 456 North Camden Drive, Beverly Hills

    Tramonto Spaventoso April 22–June 5, 2021 456 North Camden Drive, Beverly Hills Albert Oehlen in his studio, Ispaster, Spain, 2020. Artwork © Albert Oehlen. Photo: Esther Freund March , Gagosian is pleased to present Tramonto Spaventoso, an exhibition by Albert Oehlen comprising the second part of his version of the Rothko Chapel in Houston as well as other new paintings. The first part of the project—consisting of four paintings that mirror the imposing scale of the Color Field compositions in the Chapel while opposing Rothko’s contemplativeness with their frenetic energy— was exhibited at the Serpentine Galleries, London, in –. Both parts make up the work Tramonto Spaventoso (–). Oehlen uses abstract, figurative, and collaged elements to disrupt the histories and conventions of modern painting. By adding improvised components, he unearths ever-new possibilities for the genre. While championing self-consciously amateurish “bad” painting, Oehlen continues to infuse expressive gesture with Surrealist attitude, openly disparaging the quest for reliable form and stable meaning. In the large-scale canvases on view at the Beverly Hills gallery, Oehlen employs acrylic, spray paint, charcoal, and patterned fabric to interpret and transform John Graham’s painting Tramonto Spaventoso (Terrifying Sunset, –), a work by the Russian-born American modernist painter that he discovered in the s and has been fascinated with ever since. Using Graham’s puzzle-like painting as a vehicle for repeated interpretation, Oehlen reconfigures elements in diverse and absurdist ways across multiple compositions. The exhibition, which goes by the same title, is therefore in part an homage to the earlier, lesser-known artist. Reworking motifs from Graham’s original, including a mermaid and a man sporting a monocle and a Daliesque handlebar moustache, Oehlen improvises on his source.