Donald Judd

This pioneering book, the first monograph devoted to Donald Judd, addresses the whole breadth of Juddís practices. Drawing on documents found in nearly twenty archives, David Raskin explains why some of Juddís works of art seem startlingly ephemeral while others remain insistently physical. In the process of answering this previously perplexing question, Raskin traces Juddís principles from his beginnings as an art critic through his fabulous installations and designs in Marfa, Texas. He discusses Juddís early important paintings and idiosyncratic red objects, as well as the three-dimensional works that are celebrated throughout the world. He also examines Juddís commitment to empirical values and his political activism, and concludes by considering the importance of Juddís example for recent art.

Ultimately, Raskin develops a picture of Judd as never before seen: he shows us an artist who asserted his individuality with spare designs; who found spiritual values in plywood, Plexiglas, and industrial production; who refused to distinguish between thinking and feeling while asserting that science marked the limits of knowledge; who claimed that his art provided not just intuitions of morality but a specific set of tenets; and who worked for political causes that were neither left nor right.

Text: Raskin David. pp. 220; 10 BW ills. e 110 COL; hardcover. Publisher: Yale University Press, New Haven, 2010.

ISBN: 9780300162769| 0300162766
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ID: 12669

Product Description

This pioneering book, the first monograph devoted to Donald Judd, addresses the whole breadth of Juddís practices. Drawing on documents found in nearly twenty archives, David Raskin explains why some of Juddís works of art seem startlingly ephemeral while others remain insistently physical. In the process of answering this previously perplexing question, Raskin traces Juddís principles from his beginnings as an art critic through his fabulous installations and designs in Marfa, Texas. He discusses Juddís early important paintings and idiosyncratic red objects, as well as the three-dimensional works that are celebrated throughout the world. He also examines Juddís commitment to empirical values and his political activism, and concludes by considering the importance of Juddís example for recent art.

Ultimately, Raskin develops a picture of Judd as never before seen: he shows us an artist who asserted his individuality with spare designs; who found spiritual values in plywood, Plexiglas, and industrial production; who refused to distinguish between thinking and feeling while asserting that science marked the limits of knowledge; who claimed that his art provided not just intuitions of morality but a specific set of tenets; and who worked for political causes that were neither left nor right.

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