Donald Judd
Donald Judd
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Full Name and Common Aliases
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Donald Clarence Judd was an American artist known for his minimalist works in various mediums, including sculpture, printmaking, and architecture.
Birth and Death Dates
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Born: February 3, 1928, in Excelsior Springs, Missouri
Died: February 12, 1994, in New York City
Nationality and Profession(s)
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American artist, sculptor, printmaker, painter, architectural designer, writer, editor, and curator.
Early Life and Background
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Donald Judd was born to Clarence E. Judd and Edna (née Hall) Judd. His family moved frequently during his childhood due to his father's work as a salesman for the Wm. Wrigley Jr. Company. This nomadic lifestyle may have influenced Judd's later interest in mobility and flexibility in art.
Judd's early life was also marked by an enthusiasm for science, mathematics, and engineering, which he pursued through private tutors during his high school years. He eventually attended Columbia University but dropped out after one year to serve in the U.S. Army Air Forces from 1946 to 1952.
During World War II, Judd trained as a pilot but was assigned to an administrative role due to a medical condition that left him without depth perception. This experience may have instilled in him a sense of frustration and restlessness that he later channeled into his artistic endeavors.
Major Accomplishments
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Developed the concept of "specific objects" which emphasized the physical presence of an artwork, often made from industrial materials like steel, aluminum, or wood.
Pioneered the minimalist movement in the 1960s with artists like Dan Flavin and John Chamberlain.
Founded the Amon Carter Museum's Department of Prints and Drawings and served as its curator from 1974 to 1987.Notable Works or Actions
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Some notable works by Donald Judd include:
"Untitled (Stack)" (1968), a steel sculpture consisting of nine identical, stacked boxes that challenge the viewer's perception of space and volume.
* "Untitled (Belt)" (1984), a work featuring a series of linked, horizontal steel belts suspended from the ceiling, creating an immersive experience for viewers.
Judd was also known for his involvement in various art movements and initiatives throughout his career. He participated in the 1960s New York City avant-garde scene, collaborated with artists like Robert Rauschenberg and Jasper Johns, and even experimented with film and theater.
Impact and Legacy
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Donald Judd's work has had a lasting impact on modern and contemporary art, influencing generations of artists to rethink the relationship between art, space, and the viewer. His innovative approach to materiality, scale, and context continues to inspire artists, architects, and designers worldwide.
Judd's influence extends beyond the art world as well. His emphasis on the physical presence of an artwork has informed architectural design, product design, and even urban planning.
Why They Are Widely Quoted or Remembered
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Donald Judd is widely quoted and remembered for his insightful writings on art theory, criticism, and practice. His essay "Specific Objects" (1964) remains a seminal text in the minimalist movement, while his other writings, such as "Incomplete Works: Writings on Art 1976-1993," offer valuable insights into his artistic philosophy.
As an artist, critic, curator, and writer, Donald Judd has left an indelible mark on modern art. His innovative approach to medium, scale, and context continues to inspire artists, designers, and thinkers today.
Quotes by Donald Judd
Donald Judd's insights on:
And that Newman wasn’t, and yet to me Pollock is just as radical and unlike Expressionism as Newman.
But I think that’s a particular kind of experience involving a certain immediacy between you and the canvass, you and the particular kind of experience of that particular moment.
The older painting – well, it does have an effect all at once, I suppose, but it’s of a lesser intensity than a lot of the American work in the last ten or fifteen years.
Any combining, mixing, adding, diluting, exploiting, vulgarizing, or popularizing of abstract art deprives art of its essence and depraves the artist’s artistic consciousness. Art is free, but it is not a free-for-all.
It isn’t necessary for a work to have a lot of things to look at, to compare, to analyze one by one, to contemplate. The thing as a whole, its quality whole, is what is interesting. The main things are alone and are more intense, clear and powerful.
It takes a great deal of time and thought to install work carefully. This should not always be thrown away. Most art is fragile and some should be placed and never moved again.
Actual space is intrinsically more powerful and specific than paint on a flat surface,