don judd

In 1984 Donald Judd bought an old factory with five floors at 101 Spring Street in Soho which he made his home, studio and permanent installation.

An apt reflection of his design philosophy, 101 Spring Street shows how Donald considered art in relation to architecture and how he lived, worked and slept surrounded with works of his contemporaries.

"the popular dichotomy of thought and feeling provides no information and causes a lot of trouble."

Kunstmuseum Basel, 1976

The Press of the Nova Scotia College/New York University Press

The Multi-Colored Works installation view

Pulitzer Foundation for the Arts, St. Louis

May 10, 2013 – January 4, 2014

Marianne Stockebrand, curator

Donald Judd sitting on a bed he designed.

Sold for £326,500 at theContemporary Art Evening Sale, 10 February 2014, London.

In the early 1960’s, having abandoned painting, Donald Judd turned towards creating free standing, three dimensional objects. Working in a number of man-made materials, including industrial plywood, concrete and color-impregnated Plexiglas, he developed a clear interest in repetition and simplicity - features which would become the trademarks for his canonical style. Keen to do away with the conventional categories of art, in his seminal text ‘Specific objects’ (published in 1965 ), Judd discussed how his works existed outside the realms of sculpture and painting, refuting archaic definition and paving the way for a new manner of discussing and examining objects.

Composed of clear anodized aluminum with amber Plexiglas,Untitledmarks Judd’s the preoccupation with the synthetic and undervalued. Presenting these materials in his minimal and austere style, Judd transforms them into an object of contemplation and monumentality. Faced with this work we are drawn to think not only about the aesthetic qualities of the shimmering plexiglass and the deep copper but also the minimal nature of its simple form, which imparts understandings of rationality and tranquility.