Donald Judd: 50 x 100 x 50 / 100 x 100 x 50
PaceWildenstein is pleased to present an exhibition of Judd sculpture on view October 18 through November 16, 2002 at 32 East 57th Street in New York City. The exhibition, which will include thirteen pieces, is the first to focus retrospectively on Judd’s 50 cm x 100 cm x 50 cm floor boxes and 100 cm x 100 cm x 50 cm floor boxes as a distinct body of work. Made of anodized aluminum, brass, copper, stainless steel, plexiglass, plywood and Cor-ten steel, the works often incorporate blue, brown, purple, red, and yellow plexiglass. A full color catalogue with an essay by Richard Shiff, the Effie Cain Regents Chair in Art and Director of the Center for the Study of Modernism at the University of Texas, Austin, will accompany the exhibition.
Judd’s use of “actual” space was the primary focus of much of his work; Judd employed a variety of materials, used color inventively, and aimed to relate his sculpture to the surrounding wall and floor in unconventional ways in an effort to accomplish this objective. In his discussion of Judd, Shiff writes: “He spoke of analogous effects in works on the floor, in which ‘the outside is definite and rigorous [while] the inside is indefinite.’ This sense of contrast or clear differentiation is essential to Judd’s aesthetic. […]Each of the two spaces, definite and indefinite, is an invention of an artist, spaces that are ‘made,’ just as Judd claimed. So Judd invented space and produced a type of art never seen before.”
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 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. Recent Judd exhibitions include: “Donald Judd: Works from Dutch Public Collections” at the Stedelijk Museum, Amsterdam (1993-94); “Donald Judd: Retrospektive der Druckgraphik” at the Museum Wiesbaden (1996); “Donald Judd: Untitled, 1976” at the Dia Center for the Arts, New York (1999-2000); “Donald Judd Colorist” organized by the Sprengel Museum, Hannover (2000-01) and traveling to other European venues; “The Essential Donald Judd” at the Walker Art Center, Minneapolis (2001-02); and “Donald Judd. Early Work (1956-1968)” at the Kunsthalle Bielefeld, Germany (2002).
Judd’s work can be found in major public art institutions in the United States and abroad including: the Kunstmuseum Basel; the Los Angeles Museum of Contemporary Art; The Metropolitan Museum of Art, New York; the Museo Nacional Centro de Arte Reina Sofia, Madrid; The Museum of Modern Art, New York; and the Tokyo Metropolitan Art Museum, among others.
A major Donald Judd retrospective is currently being organized by the Tate Gallery, London, and is scheduled to open in early 2004.