Donald Judd Spaces
Text by Donald Judd. Edited by Flavin Judd, Rainer Judd, and Judd Foundation
This book presents an unprecedented visual survey of the living and working spaces of the artist Donald Judd in New York and Texas.
Filled with newly commissioned and previously unpublished archival photographs alongside five essays by the artist, this book provides an opportunity to explore Judd’s personal spaces, which are a crucial part of this revered artist’s oeuvre. From a 19th-century cast-iron building in Manhattan to an extensive ranch in the mountains of western Texas, this book details the interiors, exteriors, and lands surrounding the buildings that comprise Judd’s extant living and working spaces. Readers will discover how Judd developed the concept of permanent installation at Spring Street in New York City, with artworks, furniture, and decorative objects striking a balance between the building’s historic qualities and his own architectural innovations. His buildings in Marfa, Texas, demonstrate how Judd reiterated his concept of integrative living on a larger scale, extending to the reaches of the Chinati Mountains at Ayala de Chinati, his 33,000-acre ranch south of the town. Each of the spaces was thoroughly considered by Judd with resolute attention to function and design. From furniture to utilitarian structures that Judd designed himself, these residences reflect Judd’s consistent aesthetic. His spaces underscore his deep interest in the preservation of buildings and his deliberate interventions within existing architecture.
Publisher: Judd Foundation and DelMonico Books/Prestel
Artists: Donald Judd
Designer: Flavin Judd, Rainer Judd, Michael Dyer/Remake
Publication Date: 2020
Dimensions: 9 x 12 in | 22.9 x 30.5 cm
Retail: $75 | £60 | €70
Status: Not Available
The work of Donald Judd (1928–1994), one of the most significant American artists of the postwar period, has come to define what has been referred to as minimalist art—a label to which the artist strongly objected on the grounds of its generality. The unaffected, straightforward quality of Judd’s work demonstrates his strong interest in color, form, material, and space. With the intention of creating work that could assume a direct material and physical “presence” without recourse to grand philosophical statements, he eschewed the classical ideals of representational sculpture to create a rigorous visual vocabulary that sought clear and definite objects as its primary mode of articulation.