Flavin, Judd, McCracken, Sandback
November 15—December 21, 2018
David Zwirner Hong Kong is pleased to present an exhibition of work by Dan Flavin (1933–1996), Donald Judd (1928–1994), John McCracken (1934–2011), and Fred Sandback (1943–2003), four American artists associated with Minimalism, one of the most significant artistic developments of the late twentieth century. Each artist will be represented by a focused presentation of his work in a single room, allowing visitors to experience both the commonalities and distinctions in the individual approaches to reductive form, material, color, and space.
Since its inception, David Zwirner has featured critically acclaimed exhibitions devoted to the work of artists associated with Minimal art and is recognized as one of the foremost international galleries to present this work to the public. Highlighting historically significant installations, this exhibition will be the first major presentation of Minimal art to be on view in Hong Kong.
April 5–June 24, 2018
Donald Judd: Paintings was an unprecedented presentation of fourteen works created between 1959 and 1961—a crucial period in the artist’s development during which Judd experimented with forms and motifs that later evolved into the three-dimensional works for which he is best known.
Curated by Flavin Judd, curator and co-president of Judd Foundation, ICA Miami director Ellen Salpeter, and ICA Miami deputy director and chief curator Alex Gartenfeld, the exhibition offered new insight into the artist’s work through his painterly investigations into surface, structure, space, color, and pattern. Also on view is a floor work from 1964.
"Many of these pieces have not been seen by the public ever, and what an opportunity for us," Salpeter told the Miami New Times.
The exhibition was accompanied by a catalogue featuring new writing about the artist’s work.
Saturday, April 7, 2 PM
Flavin Judd, Ellen Salpeter, and Alex Gartenfeld were in discussion about the work of Donald Judd and the ideas behind this unprecedented exhibition.
ICA Miami’s new 37,500-square-foot location in the city’s Design District opened in December 2017.
November 14, 2017–March 5, 2018
Curated by Claude Armstrong and Donna Cohen, both of whom worked as assistants to Donald Judd, Obdurate Space: Architecture of Donald Judd focused on both built and unrealized architectural projects by the artist. The exhibition featured five built projects and proposals dating from 1984–1994 in a display which included new representations of the projects through both drawing and models, and photographs of archival material.
Judd Foundation is pleased to announce a call for works to initiate a public research phase of the Donald Judd Catalogue Raisonné project focused on the documentation of artworks—paintings, objects, and wood-blocks—by Donald Judd.
The call for works aims to supplement current data and will inform a following publication phase. Building upon archival research by Judd Foundation and scholars, it seeks to engage collectors, galleries, and institutions in the research of Donald Judd artworks. The Donald Judd Catalogue Raisonné project will culminate in the publication of an updated and expanded catalogue raisonné that will provide a comprehensive source for Judd scholarship.
Judd Foundation invites owners of Donald Judd artworks to submit relevant information and photographic documentation. Submitted materials will become part of the Judd Foundation Archives with all private collector information treated confidentially. Details and forms are available at juddfoundation.org/catalogue-raisonne
Catalogue Raisonné Contact
Ellie Meyer, Catalogue Raisonné Research Manager
email@example.com Tel +1 432 729 4406 ext.102
P.O. Box 218
Marfa, Texas 79843
Judd Foundation participated in Frieze New York for the first time with an installation of furniture and writings by Donald Judd.
Curated by Flavin Judd, the presentation featured original preparatory drawings from the Judd Foundation Archives in Marfa, Texas along with select Donald Judd Furniture and Judd Foundation publications.
Photo by Flavin Judd © Judd Foundation
July 14–November 4, 2018
San Francisco Museum of Modern Art (SFMOMA) presents Donald Judd: Specific Furniture. Referencing Judd’s notion of "specific objects," this exhibition explores his furniture practice in its own right. "Judd’s rigorous research and exploration of form and scale in his artworks extended into his interests in design and architecture. Truly a spatial practice, Judd’s holistic approach to the objects that he created and surrounded himself with is evident in his refined, if not nuanced, works," said Joseph Becker, associate curator of architecture and design at SFMOMA. The show will include thirty furniture designs by Judd as well as twenty five drawings, selected furniture the artist collected, and designs fabricated by Donald Judd Furniture that visitors can touch and use.
April 27–July 28, 2018
In 1991, Donald Judd made twelve extruded aluminum works in twelve colors, each an edition of twelve and each measuring 15 x 105 x 15 centimeters. Rarely seen together, a full set of these works will be on view in this solo exhibition curated by Flavin Judd, curator and co-president of Judd Foundation, in a configuration conceived by the artist but never previously realized: installed on both the floor and the walls at 101 Spring Street. Formerly Judd’s residence and studio, where the artist developed the concept of the permanent installation of his work, 101 Spring Street is now the location of Judd Foundation in SoHo, New York. 15 x 105 x 15 will be accompanied by a series of free public talks at Spring Street exploring Judd’s paintings and print editions, process, and color.
Resolutely without reference to history or narrative, the extrusion works reflect Judd’s interest in defining space, in symmetry, and in self-contained objects. As Flavin Judd explains, “While not large, the extruded works contain defined space in the subdivision of the horizontal center and the flanges. Don’s method, a manipulation of space and color, can be seen in these simple works just as well as it can be seen in his larger roomsized works. The extruded works are not minimal, they have everything Don wanted works to have.”
Judd discusses his interest in symmetry as well as other core tenets of his work in Donald Judd Writings. Published by David Zwirner Books and Judd Foundation in 2016, this is the most comprehensive collection to date of the artist’s essays, notes, and letters.
Image: Donald Judd, untitled, 1991. © Judd Foundation. Donald Judd Art © Judd Foundation/Artists Rights Society (ARS), New York.
September 22–December 8, 2018
Donald Judd: Paintings 1960–1961 presents nine works by the artist on the ground floor of 101 Spring Street in New York. The show has been curated by Flavin Judd, Artistic Director of Judd Foundation.
Donald Judd began as a painter before transitioning to work in three dimensions in 1962, and these untitled works—four from 1960 and five from 1961—reflect his experiments with a variety of techniques and possibilities for creating non-illusionistic space in two dimensions. The oil paintings made between 1956 and 1958 feature irregular shapes that are neither strictly organic nor geometric, whereas in the later paintings from 1960 to 1962, Judd makes use of repeating forms, a reduced color palette, found objects, and wax and sand to build up the canvas, plywood, or Masonite surfaces, exploring the potential of the media itself.
As Judd explained in a 1971 interview with the artist and curator John Coplans, "Two things were going on in the painting: some of the earlier ones were organic and had curved lines; secondly, they were illusionistic to some extent, and I very steadily got tired of both things and tried to get rid of spatial illusionism, but I couldn’t get rid of it. So even in a painting like the red one with the gray stripes, painted in 1961, which is just all surface, there is still a spatial play around the lines." He continues by saying, "one also had the problem that there were at least two things in the painting: the rectangle itself and the thing (image) in the rectangle. . . . But for some reason I just didn’t want to do monochrome paintings."
Rarely seen outside of Judd Foundation spaces in Marfa, Texas, where the artist permanently installed his paintings from the mid-1950s to the early 1960s, Donald Judd: Paintings 1960–1961 marks the first presentation of these works in New York.
To date, there have been only two exhibitions focusing on Judd’s early work: a 2002 retrospective at the Kunsthalle Bielefeld in Germany that traveled to The Menil Collection in Houston, Texas, the following year, and a show of late paintings at Miami’s Institute of Contemporary Art in April 2018. Donald Judd: Paintings 1960–1961 is accompanied by related public programs at Judd Foundation.
Six units, each: 9 7/8 x 39 3/8 x 9 7/8 inches (25 x 100 x 25 cm)
9 7/8 x 39 3/8 x 9 7/8 inches (25 x 100 x 25 cm)
9 7/8 x 39 3/8 x 9 7/8 inches (25 x 100 x 25 cm)
6 x 110 x 6 inches (15.2 x 279.4 x 15.2 cm)
5 7/8 x 27 x 24 inches (14.9 x 68.6 x 61 cm)
50 × 42 inches (127 × 106.7 cm)
Donald Judd Art © Judd Foundation/Artists Rights Society (ARS), New York
Architecture Studio, Judd Foundation, Marfa, Texas; © Judd Foundation; photo: Matthew Millman
15 1/2 x 93 x 78 inches (39.4 x 236.2 x 198.2 cm)
Light cadmium red enamel on galvanized iron
15 1 /2 × 93 × 78 inches (39.4 × 236.2 × 198.2 cm)
Considered to be Donald Judd's first unmounted floor sculpture in metal, this untitled "specific object," as the artist famously termed his three-dimensional works, was first shown in Shape and Structure: 1965, an important group show at New York's Tibor de Nagy Gallery that was one of the first exhibitions to formally gather works by minimalist artists.
By 1964, Judd opted exclusively for industrial materials to create his sculptures and began working with iron sheet metal. Constructed by fabricators commissioned by the artist, the hybrid shape of the present work (which falls somewhere between a square and a circle) unites painting and sculpture as well as void and form, with its closed ring demarcating the negative space it encloses.
30 x 141 x 30 inches (76.2 x 358.1 x 76.2 cm)
Red lacquer on aluminum and galvanized iron
30 × 141 × 30 inches (76.2 × 358.1 × 76.2 cm)
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. 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, Judd 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.
The present work is a series of wall-mounted cubes that are connected by an open-ended, slender red aluminum tube. Judd first utilized this form in To Susan Buckwalter (1964; DSS 56)—an important transitional work within his oeuvre.1 As Marianne Stockebrand explains, "The four cubes are aligned at intervals of approximately one quarter their length, creating compressed spaces between them like ravines. These spaces clarify the work's depth and emphasize a pull from front to back as well as the alternation of enclosed and open volumes."2 Untitled thus explores the primary preoccupations of Judd's body of work—such as the relationships between surface and volume, and between interior and exterior space—demonstrating the artist's visionary approach to industrial material as well as his considered attitude toward proportion and installation.
1 The three examples of DSS 56 are in the collections of Judd Foundation (permanently installed in Marfa, Texas), the San Francisco Museum of Modern Art, and the Addison Gallery of American Art, Andover, Massachusetts.
2 Marianne Stockebrand, "Catalogue," in Nicholas Serota, ed., Donald Judd. Exh. cat. (London: Tate Publishing, 2004), p. 183.