73684
Online

TEFAF New York

Past
Nov 1–Nov 4, 2020

For the 2020 online edition of TEFAF New York, we will spotlight Donald Judd’s Untitled (1988)—a three-dimensional, wall-mounted work made from aluminum with an anodized, jewel-like green.

Art Fair Details

TEFAF New York
Nov 1 – 4, 2020
Preview: Oct 29 – 31, 2020

Online Access

TEFAF New York

Above: Donald Judd, Untitled, 1988, green anodized aluminum, 5" × 40" × 9" (12.7 cm × 101.6 cm × 22.9 cm) © 2020 Judd Foundation / Artists Rights Society (ARS)
73684 (6).jpeg
A titan of American post-war art, Donald Judd radically broke with the history of sculpture when he eschewed the artist’s hand, emotive content, and traditional media, instead fabricating serial geometric abstractions from industrial materials like aluminum, plywood, and Plexiglas. Guided by a combination of intellect and instinct, he reduced his work to its pure constituent elements: form, color, material, and volume. Judd is widely viewed as a leading figure in Minimalism, though he was famously resistant to that term as well as any other form of categorization.
Donald Judd, Untitled, 1988, green anodized aluminum, 5" × 40" × 9" (12.7 cm × 101.6 cm × 22.9 cm)
The hallmark forms in Judd’s sculptural vocabulary—the structures that he would revisit and develop over the course of his three-decade-long career—are “boxes”, vertical “stacks”, and horizontal “progressions”. A mature example of a progression, Untitled (1988) is a three-dimensional, wall-mounted work made from aluminum with an anodized, jewel-like green. The sculpture is composed of a row of six boxes of decreasing widths separated by five voids of increasing widths: a ratio that feels intuitive yet intentional.
73684

When I did the progression, it seemed like an absolute alternative to all other kind of form.

Donald Judd

73684
Fabricated from industrial materials and often brilliantly colored, the progressions feature positive and negative space alternating across a horizontal bar. At first glance, the proportions of solids to voids in each work might read as irregular. However, Judd in fact employed mathematical series, like the Fibonacci sequence, to exactingly determine proportionality in each work. The artist said that the use of math in the progression sculptures “made it possible to use an asymmetrical arrangement, yet to have some sort of order not involved in composition. The point is that the series doesn’t mean anything to me as mathematics, nor does it have anything to do with the nature of the world.”
JUDD_Portrait_1990-High Resolution — 300 dpi .jpg
Judd and Pace Gallery had a longstanding relationship. Seeing Pace as a gallery that would nurture and support his work, including its proper installation, Judd, and subsequently his estate, joined the gallery’s roster in 1991 and remained until 2010. At Pace, the artist would be the subject of 11 solo exhibitions and one two person show with Josef Albers, nine catalogues, as well as a participant in 37 group exhibitions. A selection of installation views of some of those exhibitions follows.
To inquire about the work featured in this art fair, please email us at inquiries@pacegallery.com.

All images © 2020 Judd Foundation / Artists Rights Society (ARS), New York

Online — TEFAF New York, Nov 1–Nov 4, 2020