Edited with text by Ann Temkin. Text by Erica Cooke, Tamar Margalit, Christine Mehring, James Meyer, Annie Ochmanek, Yasmil Raymond, and Jeffrey Weiss
Published to accompany the first US retrospective exhibition of Donald Judd’s sculpture in more than thirty years, Judd explores the work of a landmark artist who, over the course of his career, developed a material and formal vocabulary that transformed the field of modern sculpture.
Donald Judd was among a generation of artists in the 1960s who sought to entirely do away with illusion, narrative, and metaphorical content. Judd surveys the evolution of his work, beginning with his paintings, reliefs, and handmade objects from the early 1960s; through the years in which he built an iconic vocabulary of works in three dimensions, including hollow boxes, stacks, and progressions made with metals and plastics by commercial fabricators; and continuing through his extensive engagement with color during the last decade of his life. This richly illustrated catalogue takes a close look at Judd’s achievements, and using newly available archival materials at the Judd Foundation and elsewhere, expands scholarly perspectives on his work. Essays by curators and scholars address subjects such as his early beginnings in painting, the fabrication of his sculptures, his site-specific pieces, and his work in design and architecture.
Publisher: The Museum of Modern Art, New York
Artists: Donald Judd
Contributors: Ann Temkin, Erica Cooke, Tamar Margalit, Chirstine Mehring, James Meyer, Annie Ochmanek, Yasmil Raymond, Jeffrey Weiss
Publication Date: 2020
Dimensions: 9 x 10.5 in | 22.9 x 26.7 cm
Reproductions: 300 color
Retail: $75 | £60 | €70
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.