Donald Judd Writings. Dieser Artikel ist nicht verfügbar.Donald Judd Writings

With hundreds of pages of new and previously unpublished essays, notes, and letters, Donald Judd Writings is the most comprehensive collection of the artist’s writings assembled to date. 

This timely publication includes Judd’s best-known essays, as well as little-known texts previously published in limited editions. Moreover, this new collection also includes unpublished college essays and hundreds of never-before-seen notes, a critical but unknown part of Judd’s writing practice.

Judd’s earliest published writing, consisting largely of art reviews for hire, defined the terms of art criticism in the 1960s, but his essays as an undergraduate at Columbia University in New York, published here for the first time, contain the seeds of his later writing, and allow readers to trace the development of his critical style. The writings that followed Judd’s early reviews are no less significant art-historically, but have been relegated to smaller publications and have remained largely unavailable until now. The largest addition of newly available material is Judd’s unpublished notes—transcribed from his handwritten accounts of and reactions to subjects ranging from the politics of his time, to the literary texts he admired most. In these intimate reflections we see Judd’s thinking at his least mediated—a mind continuing to grapple with questions of its moment, thinking them through, changing positions, and demonstrating the intensity of thought that continues to make Judd such a formidable presence in contemporary visual art.

Edited by the artist’s son, Judd Foundation curator and co-president Flavin Judd, and Judd Foundation archivist Caitlin Murray, this volume finally provides readers with the full extent of Donald Judd’s influence on contemporary art, art history, and art criticism.

Flavin Judd is curator and co-president of Judd Foundation. He is the husband of psychoanalyst Michèle Judd, the father of three children, and the son of Donald Judd for whom he assisted in the making of spaces and the installation of art. For Judd Foundation, he oversees art installations, architectural issues, and design efforts (including the recent restoration of 101 Spring Street in New York). His films, art installations, and architectural designs have won awards.

Caitlin Murray is director of Marfa programs at Judd Foundation, TX, where she has worked since 2008. She is co-editor of The Present Order: Writings on the Work of Ian Hamilton Finlay, (2011). Murray is also co-owner of the Marfa Book Company and an advisory member of Yale Union (YU), a center for contemporary art in Portland, Oregon.

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.

Judd Foundation is a tax-exempt 501(c)(3) not-for-profit organization created to preserve the permanently installed living and working spaces of Donald Judd in New York and Marfa, Texas. The foundation promotes a wider understanding of Judd’s artistic legacy by providing access to these spaces and resources and by developing scholarly and educational programs.