10/09/2009 - 10/10/2009
Elvira González gallery opens the season with a solo show by Donald Judd (1928, Excelsior Springs, Missouri – 1994, New York).
Donald Judd abandoned painting in 1961-1962 in favour of three-dimensional forms. At the begging of 1964 he began to have his works fabricated. He called these works Specific objects and always objected the word sculpture because it was related to art tradition and the past.
The seven progressions showed in the exhibition are dated from 1967 to 1975. These specific objects where geometry and repetition of one form, industrial material and plane colour are the basis of what was later named as minimalism
The first prototype of a wall progression in red lacquered on wood is dated 1964. From this moment on, Judd worked with cubic structures that grows from one edge to the other in a mathematical progression. These works are a whole structure organized by the relations between each part, including the boxes and the spaces between them.
DSS 102 from 1967 on red lacquer, DSS 132 and DSS 135 both from 1968 on purple and green lacquer, have the same form as the first progression made by Judd in 1964. After this first hand made progression he decided to have his works fabricated with industrial materials from the Bernstein Bross. factory in Soho. Industrial fabrication is a consequence of trying to abandon any trace of expressionism or reference to nature in his work.
DSS 191 from 1969 has three meters brass tube with several attached elements in blue anodized aluminium. Judd first presented these large progressions in 1966 at Leo Castelli Gallery in New York. He then realized that in order to do largest progressions he needed to open them.
DSS 219 from 1970 is an arithmetic progression in brass. Judd himself was never interested in the way the work was produced. In this case the gold colour of the polished brass is a clear search of beauty through perfection.
Untitled 74 – 8 Bernstein is a two meters geometric progression in green anodized aluminium. Judd once stated that intense colours defines an object in space. Precision and simplicity are constructing the space.
The only drawing in the exhibition dated in 1975, is the sketch of the blue anodized aluminium progression from 1975 (2-5-75 Bernstein) in which Judd has noted by hand the dimension of each part of the piece: 3” – 4” – 3 ½” – 3 ½” – 4” – 3” – 4 ½”.
Donald Judd works has been exhibited in museums all over the world as the Whitney Museum of Modern Art (where he had his first solo exhibition in 1968), the Solomon R. Guggenheim Museum, New York, Venice Biennial, Documenta Kassel, Stedelijk Van Abbemuseum, Eindhoven, Walker Art Center, Minneapolis, Tate Gallery, London or The Kunstmuseum in Basel.
Another important aspect in Judd’s work are his writings. Since 1950’s he collaborate as an art critic in numerous art reviews as ARTnews, Arts Magazines (Director from 1960 to 1965) and Art International as well as his writings about art theory which also are a part of his artistic legacy.
Judd was always interested in finding a perfect environment to have his work installed and in 1986 he created the Chinati Foundation in Marfa, Texas. At Chinati you can see a permanent installation of works by Judd as well as some of other artists of his generation as Dan Flavin and John Chamberlain. His passion for architecture drove him to design his own furniture wich are now considered as part of the classic design of furniture in the XXth century.