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Larger Image |
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Title |
Untitled. |
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Creator |
Judd, Donald (American sculptor, painter, and author, 1928-1994) |
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Date |
1966-1968 |
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Cultural Context |
American
North American |
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Style/Period |
Abstract (fine arts style)
Minimal
Modern (styles and periods)
Modernist |
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Subject |
Abstract sculpture
Boxes
Geometry |
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Description |
"Judd's industrially manufactured, modular pieces, developed from 1966 onwards, were stubbornly empirical investigations of specific materials and visual effects. He shunned mystification and openly declared the nature of his structures. The interiors of his boxes were normally exposed or could be viewed through colored perspex. Color was often inherent in the materials he selected, but he sometimes coated his metal pieces with metallic motorcycle paints so that color appeared to be at one with the surface rather than 'applied." (Caption, p.136); "Whether or not [Frank] Stella is to be seen as a cipher for larger economic forces, it is interesting that when he, along with fellow artist Don Judd, theorized the move to a new impersonal aesthetic, in an important interview of 1966, the rhetoric of American cultural supremacy played its part. It is necessary here to say something about Judd. Initially a painter, Judd had come to believe, in the wake of Stella's productions, that both painting and sculpture were inherently illusionistic and should be superseded by the creation of what he called 'specific objects' in literal space. His production of this new artistic genre, which took the form of single or repeated geometrical objects, was part of a broader move towards 'Minimalism' […]. The objects, which were uninflected, 'hollow', and occasionally subdivided internally according to part-to-whole ratios, were fabricated by workmen at factories, according to his specifications, in materials ranging from cold-rolled steel to Plexiglass. In articulating their position, Stella and Judd made much of the fact that their new works were 'non-relational'. This meant that they were structurally self-evident and pragmatically ordered according to a principle of 'one thing after another', thereby shaking off the fussy 'relational' characteristics of much previous art." (Excerpt, pp.135-136) |
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Material |
Stainless steel and amber plexiglass
Stainless steel
Steel (alloy)
Iron alloy
Metal
Plexiglas (TM)
Acrylic (plastic)
Acrylic resin
Plastic (organic material)
Thermoplastic
Polyacrylate |
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Measurements |
86.4 x 86 x 86 cm |
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Technique |
Metalworking
Sculpting
Assembling (additive and joining process)
Construction (assembling)
Modular construction
Prefabrication
Manufacturing |
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Work Type |
Sculpture
Abstract sculpture
Abstract works |
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Repository |
Milwaukee Art Museum [formerly Art Center] (Milwaukee, Wisconsin) |
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Source |
Hopkins, David. After Modern Art: 1945-2000. Oxford History of Art. Oxford; New York: Oxford UP, 2000. (p.136, fig.66) |
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Rights |
Photograph reproduced in Hopkins courtesy: Milwaukee Art Museum, WI; Layton Art Collection purchase. © Estate of Donald Judd/VAGA, New York/DACS, London, 2000. |
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Digital Publisher |
University of Louisville Department of Fine Arts/Allen R. Hite Art Institute Visual Resources Center |
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Format |
image/jpeg |
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Digital File Name |
VRC 827-24.jpg |
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Rating |
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