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Larger Image	Larger image may be viewed by UofL faculty, staff, and students only (log-in required using ULink username/password) at: http://echo.louisville.edu/login?url=http://vrc-web.louisville.edu/Jpegs/820/827-24.jpg
Title	Untitled.
Creator	Judd, Donald (American sculptor, painter, and author, 1928-1994)
Date	1966-1968
Cultural Context	American North American
Style/Period	Abstract (fine arts style) Minimal Modern (styles and periods) Modernist
Theme	Sculpture (visual work) Boxes (containers) Avant-garde Abstraction Geometric abstraction Geometry Cubes Prefabrication Modular construction
Subject	Sculpture Abstract sculpture Abstract works Boxes Geometry
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in the wake of Stella's productions, that both painting and sculpture were inherently illusionistic and should be superseded by the creation of what he called 'specific objects' in literal space.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)
Material	Stainless steel and amber plexiglass Stainless steel Steel (alloy) Iron alloy Metal Plexiglas (TM) Acrylic (plastic) Acrylic resin Plastic (organic material) Thermoplastic Polyacrylate
Measurements	86.4 x 86 x 86 cm
Technique	Metalworking Sculpting Assembling (additive and joining process) Construction (assembling) Modular construction Prefabrication Manufacturing
Work Type	Sculpture Abstract sculpture Abstract works
Repository	Milwaukee Art Museum [formerly Art Center] (Milwaukee, Wisconsin)
Source	Hopkins, David. After Modern Art: 1945-2000. Oxford History of Art. Oxford; New York: Oxford UP, 2000. (p.136, fig.66)
Rights	Photograph reproduced in Hopkins courtesy: Milwaukee Art Museum, WI; Layton Art Collection purchase. © Estate of Donald Judd/VAGA, New York/DACS, London, 2000.
Digital Publisher	University of Louisville Department of Fine Arts/Allen R. Hite Art Institute Visual Resources Center
Format	image/jpeg
Digital File Name	VRC 827-24.jpg
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