-->

Pace Galleries

Donald Judd

Large-Scale Works

View More

About Donald Judd

Donald Judd (b. 1928, Excelsior Springs, Missouri; d. 1994, New York) is one of the most significant American artists of the post-war period. Judd described his work as “the simple expression of complex thought.” Often classified as a minimalist—a term that he strongly rejected—his explorations of volume, interval, “actual space,” and color had a profound impact on the course of modern sculpture. Judd also paid particular attention to the selection and fabrication of materials, working with industrial materials such as Plexiglass, metal and plywood. The relationship between object, viewer, and environment was a central part of his practice. During his lifetime, Judd received grants and awards from the John Guggenheim Memorial Foundation, National Endowment for the Arts, the Sikkens Foundation, and the Swedish Institute, among many others. Judd’s work is in the collection of nearly every major public art institution in the U.S.

View More

Press Release

  • Donald Judd: Large-Scale Works
    Donald Judd: Large-Scale Works, an exhibition of five sculptures including three of the artist’s stacks from 1988 and 1991, as well as concrete and Cor-ten steel floor pieces from the late 1980s, opens at PaceWildenstein, 534 West 25th Street, New York City on Friday, October 15 and will remain on view through November 13, 2004. The public is invited to attend a preview of Donald Judd: Large-Scale Works on Thursday, October 14 from 6 – 8 p.m. A catalogue with full color reproductions and an essay written by Rudi Fuchs, former artistic director of the Stedelijk Museum, Amsterdam and current guest lecturer in Art Practice at the University of Amsterdam, will be published on the occasion of the exhibition. In his discussion of Donald Judd’s materially sublime and perfectly constructed works, Fuchs writes “…one senses that the materiality of the piece has imperceptibly vanished. What lingers on is almost a motionless apparition – of surface and color only, and reflected light, glow, shadows.” Fuchs underlines the importance of viewing Judd as he wanted to be seen, “not as a minimal formalist, but as a master of color.” In the beginning of this year, the Tate Modern exhibited Donald Judd, a thorough retrospective of Judd’s works from throughout his career, which traveled to K20 Kunstsammlung Nordrhein-Westfalen, Dusseldorf this summer and is currently on view at Kunstmuseum Basel, Switzerland through January 9, 2005. The exhibition is curated by Sir Nicholas Serota, Director of the Tate Gallery, London, and Marianne Stockebrand, Director of the Chinati Foundation, Marfa, Texas, and is presented in close cooperation with the Judd and Chinati Foundations. After serving in the United States Army during the Korean War, Donald Judd (b. 1928, Excelsior Springs, MO – d. 1994, New York, NY) attended the College of William and Mary (Williamsburg, VA), the Art Students League (New York City), and Columbia University (New York City) where, in 1953, he received a B.S. in philosophy. In 1957 Judd had his first solo exhibition in New York, and soon thereafter he returned to Columbia University to pursue graduate study in art history. Judd’s art criticism was published in Artnews, Arts Magazine and Art International between 1959 and 1965; during those early years Judd had several exhibitions at the Green Gallery in New York. In 1971 Judd and his family moved to Marfa, a remote town in West Texas located halfway between Houston and Los Angeles, where, fifteen years later, he opened the Chinati Foundation. The Chinati Foundation is a non-profit exhibition space featuring permanent installations of Judd’s art as well as work by other artists such as John Chamberlain, Dan Flavin, Claes Oldenburg and Coosje van Bruggen, and annually attracts over 10,000 visitors from around the world. During his lifetime, Judd had over 125 solo exhibitions including two retrospectives at the Whitney Museum of American Art, New York (1968 and 1988) and an early museum exhibition at the Pasadena Art Museum (1971). In 1975 the National Gallery of Canada, Ottawa, organized a Judd exhibition and published a catalogue raisonné of Judd’s work. That same year the Press of the Nova Scotia College of Art and Design and New York University Press jointly published Judd’s Complete Writings 1959-1975. The Stedelijk van Abbemuseum, Eindhoven, The Netherlands later published in 1987 Judd’s Complete Writings 1975-1986. Judd worked and taught at several academic institutions including the Brooklyn Institute of Arts and Sciences (1962-64), Dartmouth College, Hanover, NH (1966), Yale University, New Haven, CT (1967), and Oberlin College, Oberlin, OH (1976) and was the recipient of numerous awards including a grant from the National Endowment for the Arts (1967), a Guggenheim Fellowship (1968), the Skowhegan Medal for Sculpture (1987), the Brandeis University Medal for Sculpture (1987), the Frederick R. Weisman Art Foundation Award (1991), the Stankowski Prize, Stuttgart (1993), and the Sikkens Award, Sassenheim, The Netherlands (1993). In 1992 Judd was elected a member of the Royal Academy of Fine Arts, Stockholm, and the Littlefield Society, University of Texas, Austin. Judd’s work can be found in major public art institutions in the United States and abroad including: Dallas Museum of Fine Art; Dia Center for the Arts, New York; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Kunstmuseum Basel; Los Angeles Museum of Contemporary Art; The Metropolitan Museum of Art, New York; Moderna Museet, Stockholm; Museo Nacional Centro de Arte Reina Sofia, Madrid; The Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; Tokyo Metropolitan Art Museum; and Whitney Museum of American Art, New York. The Judd Foundation was created in 1996 by Donald Judd’s last will and testament to maintain and preserve his permanently-installed living and working spaces, libraries and archives in Texas and New York. The Foundation is dedicated to promoting a wider understanding of and appreciation for Judd’s artistic legacy by facilitating public access to these spaces and resources, and by developing scholarly and education programs.
  • Robert Mangold: Column Paintings and Donald Judd: Large-Scale Works
    Two new exhibitions open at PaceWildenstein, 534 West 25th Street, New York City next week: Robert Mangold: Column Paintings and Donald Judd: Large-Scale Works. An opening reception will be held on Thursday, October 14 from 6 – 8 p.m. The Mangold exhibition will feature eight acrylic and black pencil on canvas works from 2003-2004 that range in size from 10’ - 12’ ¼” tall to 1’ - 3’ wide and the show will also include one triptych, Three Column/ Figures 5, 2003. A full color catalogue with an essay by the novelist and essayist Francine Prose accompanies the exhibition. The Judd exhibition will consist of five sculptures including three of the artist’s stacks from 1988 and 1991, as well as concrete and Cor-ten steel floor pieces from the late 1980s. A catalogue with full color reproductions and an essay by Rudi Fuchs, former director of the Stedelijk Museum, Amsterdam and current guest lecturer in Art Practice at the University of Amsterdam, will be published on the occasion of the exhibition. The exhibitions will be on view from October 15 through November 13, 2004. Investigating Mangold’s column paintings within the context of traditional artistic and architectural systems Prose writes, “Whatever we might have thought we knew about drawing, architecture and painting, about a curve or a wall or a column – all of it is quietly subverted, replaced with something new.” By entering into a dialogue with the work, the viewer’s conventional expectations, assumptions, and experience are subsequently altered. Prose also discusses the history of the column as a widely used art and architectural form, from the monumental Trajan’s Column in Rome (c.113 A.D) to Brancusi’s Endless Column (1938). In his discussion of Donald Judd’s materially sublime and perfectly constructed works, Fuchs writes “…one senses that the materiality of the piece has imperceptibly vanished. What lingers on is almost a motionless apparition – of surface and color only, and reflected light, glow, shadows.” Fuchs underlines the importance of viewing Judd as he wanted to be seen, “not as a minimal formalist, but as a master of color.”
View More

Catalogues

Print

DONALD JUDD: LARGE-SCALE WORKS

Rudi Fuchs

2004. PaceWildenstein. Paperback

24 pages: 9 color illustrations; 10 x 9 ½ inches

9781930743410

$20.00

Add to Cart