+ Gagosian
Judd’s radical art making and thinking helped shape the look of the late twentieth century and continues to influence artists, architects, and designers worldwide. He has exercised a transformative impact on the ways in which both art objects and practical designs are produced, exhibited, encountered, and used. Continue reading Donald Judd
For Judd, the transition to working in three dimensions liberated him from the pictorial conventions that working on canvas tied him to. It also allowed him to explore empty space, which takes a different form in each of the wall works and floor works on view. Continue reading Donald Judd
+ Gagosian
While Judd’s oeuvre is defined principally through his three-dimensional work—which he conceived in opposition to the essential properties of both conventional painting and sculpture—he began his practice as a painter while also taking graduate courses in art history at Columbia University in New York. Continue reading Donald Judd
By the mid-1960s, Judd commenced his lifelong practice of using industrial materials, such as aluminum, steel, and Plexiglas, and delegating production of his work to local metal shops. With the help of these specialized fabricators, he developed a signature vocabulary of hollow, rectilinear volumes, often arranged in series. Continue reading Donald Judd
photos: Art © Judd Foundation . + David Zwirner
Throughout his career, Judd endeavored to produce objects that were entirely self-referential, writing in 1968, “A shape, a volume, a color, a surface is something itself. It shouldn’t be concealed as part of a fairly different whole.” Cor-ten afforded Judd a new avenue for exploring many of the fundamental preoccupations of his oeuvre, such as the relationships between surface and volume, as well as color and form. Continue reading Donald Judd
