Judd

(Hardback)

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Description

This exhibition will be the first American retrospective of Donald Judd's work in thirty years. Due to the unprecedented archival access granted by the Judd Foundation to MoMA's curatorial team, this show presents a unique opportunity to assess Judd's career anew. Most writings to date have dwelled on Judd's place within Minimalism and drawn heavily on biography as well as the artist's own statements on his work. With an aim to counter the mythologizing and interpretation-heavy literature that still prevails in Judd scholarship, this book will marshal in-depth research in order to expand readers' knowledge of the revolutionary nature of his working method. The essays included will delve into the specifics of Judd's industrial materials, fabrication processes, exhibition histories, and activities related to design and architecture.

Reviews

The companion catalog to MoMA's retrospective of American sculptor Donald Judd the first in 30 years--is a stunning tribute to the late artist.--Natasha Wolff "Forbes: Media"
Concise and focused, MoMA's "Judd" decidedly places sculpture at the center of his practice, which is too often reduced to minimalism--a term that, much like "sculpture," he resisted. From early paintings executed in the early 1960s to the untitled metallic sculptures for which he is most often associated, the exhibition emphasizes the artist's predilection for experimentation, highlighting the various ways through which he used form, materials, and surrounding environments to reshape traditional artistic practices.--Louis Soulard "Domus"
Serves up a master class in the career of the man credited with putting Marfa on the map and transforming the field of modern sculpture.--Melissa Goldstein "C Magazine"
A concise career overview from [Judd's] early paintings to the legacy of his furniture.--Editors "Cultured"
Several decades on, the art of Donald Judd is still stunning.--Hal Foster "Artforum"
Bright, beautiful, clear, and succinct.--Elizabeth Buhe "Brooklyn Rail"
The jacked-up speed of current cultural consumption had made the challenges his work presents more urgent than ever.--Kenneth Baker "Art Newspaper"
a comprehensive overview of the divisive artist's grasp on abstraction, space, interpretation and the abolition of illusion.--Helen Holmes "Observer New Review"
about as close as you can get to a truly immersive Judd encounter.--Emily Farra "Vogue"
an ode to material and spatial transformation--Lance Esplund "Wall Street Journal"
[Judd's] art, once thought to be too severe to be beautiful, can now be seen to offer pleasures, visual and conceptual, that any audience with open eyes can relate too...--Holland Cotter "New York Times"
A much needed exhalation.--Olivia Hosken "Town & Country"
Does justice not only to Judd's artworks but to his ambition and his intent.--Tom Teicholz "Forbes: Media"
Judd was committed to abstraction and democracy. His work praises human labor and industrial craftsmanship.--John Yau "Hyperallergic"
Judd's minimalism is the ubiquitous dark design energy of everyday modern life. Always there, even if you never consciously recognize it.--Jerry Saltz "New York Magazine: Vulture"
Published to accompany the first US retrospective exhibition of Donald Judd's sculpture in more than 30 years, Judd explores the work of a landmark artist who, over the course of his career, developed a material and formal vocabulary that transformed the field of modern sculpture.--Editors "ARTFIXdaily"
That aesthetic synergy between the work of Judd, who died in 1994, and MoMA brings a certain piquancy to the museum's current Judd retrospective, the first anywhere in more than 30 years. The museum has changed--there have been three renovations and expansions since the '70s--and perhaps so, too, has our understanding of Judd's steely, boxy objects.--Editors at ARTnews "ARTnews"
The first U.S. exhibition of [Judd's] sculptures in more than thirty years. His minimalist forms and surprising use of materials still challenge our perceptions of what indeed might be considered contemporary sculpture.--Ken Scrudato "Blackbook"
There are endless details for furniture historians and fans alike to eagerly seek out.--Madeline Luckel "Architectural Digest"
There couldn't be a better time to revisit an artist who doggedly confronted form, presence, and politics, both on the page and in 'real space.--Aria Dean "Artforum"
When Judd's works are displayed en masse and given enough space, Ms. Temkin argues, it's possible to see the visual power and the extraordinary variety of his work...--Peter Saenger "Wall Street Journal"
While there's admirable integrity in Judd's detailed specifications regarding color, material, process, and exhibition methods, there's also a supreme fussiness and self-importance that touches everything the man ever made. The work wants to argue with whatever qualms you might have about it, and you get the feeling that the work would probably win.--Alina Cohen "Artsy"
Works by Judd are almost routinely beautiful, but coldly and even imperiously so, as if their quality were none of your business.--Peter Schjeldahl "New Yorker"

Author Bio

Ann Temkin is The Marie-Jose and Henry Kravis Chief Curator of Painting and Sculpture at The Museum of Modern Art, New York.