|Donald Judd (1928-1994) first came to public attention in the mid 1960s as one of a group of American artists who were referred to as 'Minimalists' including Dan Flavin and Sol LeWitt. These sculptors shared an interest in abstract forms, industrial materials and machine production. Judd's essay, Specific Objects, published in 1965, is widely considered the seminal exposition of their groundbreaking approach to making art. |
In 1968 Judd purchased 101 Spring Street in New York City where he developed his ideas about installed space and the nature of the studio. He lived, worked and continued to refine 101 Spring Street until his death. In 1971 Judd began living part-time in Marfa, Texas and began to acquire a number of buildings there. In the late 1970s the Dia Foundation became Judd's partner on a substantial permanent installation project located in a former Army base on the edge of town. In 1986 the properties were transferred to the ownership of the Chinati Foundation. In Marfa he designed furniture and modified buildings to complement his sculptures, and displayed his paintings, prints and drawings along with the work of artists he admired.
The exhibition, which includes around forty works, is a full retrospective of Judd's sculptures. It begins with a series of paintings and handmade works from the early 1960s showing Judd's progression from two into three dimensions, and illustrate his development of a new vocabulary of sculptural form. The exhibition then explores Judd's characteristic factory-made floor and wall-based works of the 1960s and 1970s made from a wide-range of industrial materials such as galvanised iron, steel, plexiglas and plywood, and polished metals such as brass and copper. The exhibition moves through the 1980s with a series of highly coloured wall pieces of bolted aluminium, and ends with his final colourful plywood and plexiglas sculpture from 1993.
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