De Maria, Fontana, Judd, Manzoni, Merz, Picasso, Rauschenberg, Serra, Warhol @ Gagosian, Paris

De Maria, Fontana, Judd, Manzoni, Merz, Picasso, Rauschenberg, Serra, Warhol

Gagosian, Paris

2 avril - 31 mai 2025

Please scroll down for the English version

Tout acte de destruction est aussi un acte de création. Détruire, c’est ouvrir un espace, dégager un chemin pour quelque chose de nouveau.

—Gilles Deleuze, Différence et répétition, 1968

Cette exposition collective présente une conversation entre des artistes d’après-guerre ayant questionné les conventions de la forme, du matériau et de la perception, et souligne l’évolution de leurs pratiques. L’installation rassemble des œuvres majeures de Walter De Maria, Lucio Fontana, Donald Judd, Piero Manzoni, Mario Merz, Pablo Picasso, Robert Rauschenberg, Richard Serra et Andy Warhol.

Ces œuvres révèlent la façon dont la répétition dans l’art peut redéfinir les possibilités perceptuelles et formelles, en examinant la manière dont les artistes ont utilisé la sérialité, la variation et l’accumulation pour déstabiliser les schémas conventionnels de la vue et de la pensée. La déclaration de Picasso, « Dans mon cas, une image est la somme de destructions », résonne avec la pensée de Deleuze. Parallèlement aux recherches du philosophe sur la différenciation et l’itération, Serra affirme que « la répétition est le rituel de l’obsession ».

Le passage de Picasso à la sculpture, les structures modulaires et sérielles de Judd, l’insistance de Serra sur le processus de création et son exploration incessante de la matérialité, ainsi que les œuvres et sculptures à caractère durable de De Maria démontrent que la répétition n’est jamais statique, mais qu’elle est au contraire une force de renouvellement. Les œuvres de Fontana, Concetto spaziale, sont percées, ouvrant le plan de l’image à un espace infini, tandis que la série Achrome de Manzoni renonce à la couleur, à la représentation et à l’allusion pour mettre l’accent sur la présence matérielle. Dans leur art, Rauschenberg et Merz reconfigurent radicalement les objets quotidiens, tandis que la multiplication des images de Warhol déplace leurs significations reçues en faveur de nouvelles interprétations. Ensemble, ces oeuvres offrent une réflexion opportune sur la nature cyclique de l’innovation artistique et sur les relations changeantes entre le passé et le présent.

_____

Every act of destruction is also an act of creation. To destroy is to open up a space, to clear a path for something new.

—Gilles Deleuze, Difference and Repetition, 1968

This group exhibition presents a conversation between postwar artists who challenged the conventions of form, material, and perception, highlighting the evolution of their practices. On view through May 31, the installation gathers defining works by Walter De Maria, Lucio Fontana, Donald Judd, Piero Manzoni, Mario Merz, Pablo Picasso, Robert Rauschenberg, Richard Serra, and Andy Warhol.

These works reveal how repetition in art can redefine perceptual and formal possibilities, examining how artists have employed seriality, variation, and accumulation to destabilize conventional patterns of sight and thought. Picasso’s declaration “In my case, a picture is a sum of destructions” resonates with the thinking of Gilles Deleuze. Parallelling the philosopher’s inquiries into differentiation and iteration is Serra’s credo that “Repetition is the ritual of obsession.”

Picasso’s turn to sculpture, Judd’s modular and serial structures, Serra’s insistence on process and his relentless exploration of materiality, and De Maria’s durational works and sculptures demonstrate that repetition is never static, but rather a force of renewal. Fontana’s Concetto spaziale works are pierced, opening the picture plane up to infinite space, while Manzoni’s Achrome series negates color, representation, and allusion to emphasize material presence. Rauschenberg and Merz radically reconfigure everyday objects in their art, whereas Warhol’s multiplication of images displaces their received meanings in favor of new interpretations. Together they offer a timely reflection on the cyclical nature of artistic innovation and the shifting relationships between past and present.

GAGOSIAN, PARIS

4 rue de Ponthieu, 75008 Paris

gagosian.com

Bartlett / Jensen / Judd @ 125 Newbury, New York - "No Illusions" Exhibition

Bartlett/Jensen/Judd: No Illusions

125 Newbury, New York

February 10 – April 1, 2023

“Conceptual artists are mystics rather than rationalists. They leap to conclusions that logic cannot reach.” 

– Sol LeWitt 

125 Newbury presents its third exhibition, Bartlett/Jensen/Judd: No Illusions, which brings together works by Jennifer Bartlett (1941–2022), Alfred Jensen (1903–1981) and Donald Judd (1928–1994), three American artists who pioneered new possibilities in systems of abstraction. 

Reflecting different generations and distinct approaches to artmaking, Jennifer Bartlett, Alfred Jensen, and Donald Judd were linked by a deep commitment to art as material fact rather than illusion. Exploring the visual and conceptual resonances across their practices, the exhibition brings Jensen’s canvases of the 1960s and 1970s into dialogue with sculptures by Judd from the 1970s and 1980s and paintings by Bartlett from the 1970s, 1990s and 2000s. Throughout, the organizing system of the grid is transformed from a tool of objective and rational thought into a vehicle for deeply personal, subjective, and sometimes mystical expression.

A seminal figure in New York’s mid-century avant-garde, Alfred Jensen belonged to the first generation of the Abstract Expressionists, yet despite his central presence in the New York scene of the ’50s and his close relationship with Mark Rothko, he always identified as an outsider. Beginning in the 1960s, his work had profound impact on a younger generation of artists, in particular Donald Judd, who in 1963 wrote: “Now and then a chance occurs for a narrow, subjective, categorical statement: Jensen is great. He is one of the best painters in the United States.” Drawing on a wide range of references from pre- Columbian art to Guatemalan textiles to the Pythagorean theorem, Jensen materialized his synthetic and deeply personal philosophy in a language of vibrant color and pattern. “Jensen has elaborate theories based on Mayan, Babylonian and the other astrological, astronomical and calendrical schemes,” Judd observed, “The theories are important to him and completely irrelevant to the viewer. The color is particular to Jensen and very good.”

While the industrial materials and fabrication of Donald Judd’s art might seem at a remove the signature impasto of Jensen’s highly worked surfaces, Judd and Jensen were united by an investment in systems. Their works dissociate and dissolve those systems, however, transforming them from structures of logic into vehicles for unmediated experiences of the sublime. Judd’s plywood sculptures, a series of which are featured in the exhibition, evince the almost spiritual import he placed on humble, everyday materials and ubiquitous rectilinear geometries. Even as the sculptures’ open forms reveal their internal composition, they remain as inscrutable and mysterious as the symbols that populate Jensen’s canvases.

If Judd’s innovations of the 1960s sought to expand the definition of sculpture, Jennifer Bartlett’s paintings of the 1970s were similarly ambitious. Belonging to the generation of artists who emerged in reaction to the aesthetic austerity of Minimalism, Bartlett became known for re-introducing subjectivity into serial and process-based forms. She began exhibiting large-scale, multi-panel paintings on individual steel plates, which were arranged in gridded patterns on the wall. These plate paintings summoned the rhetoric of Minimal, Conceptual, and process-oriented practices yet remained emphatically painterly. They expressed the purity of mathematical and chromatic logics yet processed those organizing structures through a decidedly subjective filter. The resulting paintings incorporated the lessons of both Jensen and Judd, transmuting rational systems into a language of sensation and feeling. As assemblages of flat, metallic plates that adhere flush to the wall, Bartlett’s works celebrate the objecthood of painting. Just as Jensen’s heavy use of impasto ratifies the materiality of paint—and Judd’s unpainted plywood testifies to the sculpture’s presence as an object in the room—so too Bartlett’s steel plates, which operate more as things than images. Her compositions of dots, dashes, and lines unfold rhythmically, threatening to escape their containing grids, while announcing their status as hand-made marks and therefore traces of the artist’s own body. The resulting paintings refuse the logic of illusion, instead becoming talismans not only for the artist’s thought, but her embodied labor.

No Illusions celebrates this focus on the elemental fact of art as object—a refusal of illusion in favor of real presence—as a leitmotif that recurs across all three artists’ oeuvres.

About 125 Newburry

Gallery 125 Newbury, New York. A Project Space Helmed by Arne Glimcher

125 NEWBURY

395 Broadway at Walker Street, New York City (Tribeca)

www.125newbury.com

John Wesley & Donald Judd @ Alison Jacques Gallery, London

An Unlikely Friendship: John Wesley in conversation with Donald Judd
Alison Jacques Gallery, London
15 March - 27 April 2019

Alison Jacques Gallery presents An Unlikely Friendship: John Wesley in conversation with Donald Judd, the first in a series of exhibitions focusing on, close and often overlooked, friendships between seminal artists.

Friends for over thirty-five years, John Wesley stated that the two spoke about 'anything but art' (1) and, although there was a clear admiration for Donald Judd's work he 'wouldn't dare write about him' (2). In contrast, Donald Judd wrote several times in praise of John Wesley's work and in 1982 he invited John Wesley, on what would be the first of several visits, to spend time in Marfa making new work. Donald Judd's vision of a permanent purpose-built John Wesley Gallery for his friend's work was always on the horizon but not realised in full until 2004 by the Chinati Foundation. Given the apparent disparity between John Wesley and Donald Judd's work, visitors are often surprised to find the John Wesley Gallery at Chinati and to discover the close friendship between the two artists.

This exhibition brings together John Wesley and Donald Judd's work for the first time in direct dialogue with one another. A group of John Wesley's painting on canvas and paper from 1983-1990 will be exhibited alongside four key Donald Judd sculptures from 1969-90. It becomes clear, from experiencing their work side by side, that the friendship was born from Donald Judd's understanding of what John Wesley was doing and an ability to relate to aspects within his own approach to making art.

Donald Judd's interest in John Wesley's work arose in the 1960s, 'most of the best painting has got to the point where it is nearly flat and nearly without illusionistic space' but 'the most illusionistic of the best painting generally is the work by Lichtenstein, Wesley and especially Rosenquist - since they deal with subject matter' (3). Donald Judd was fascinated by the fact that in John Wesley's work the spatial foreground and background shift back and forth enabling surfaces to be perceived on different levels. Donald Judd considered this 'ambiguity' to be one of John Wesley's main devices and admired the fact that not only the forms but the spaces between them could be perceived as forms in their own right which, in relation to one another, create a "coherent whole". 

Although his work is predominantly figurative, John Wesley plays with flatness and repetition to negate subject matter. Untitled (Birds) (1988) uses the repetition of a reduced bird-form so that it becomes a pattern on a recurring loop; almost like wallpaper. Donald Judd describes John Wesley's paintings as 'copies of the patterns of blue and white china. Most of the forms are nineteenth century. The forms selected and the shapes to which they are unobtrusively altered, the order used and the small details are humorous and goofy. This becomes a cool, psychological oddness.' (4) This 'coolness' and democratisation of form is seen in Donald Judd's stack sculpture from 1990 composed of several wall-hung modules, forms favoured for their symbolic neutrality and industrial finish. John Wesley's art also related to the aesthetics of mechanised production. Shortly after his move to New York in 1960, whilst working in the Post Office, he began to make paintings representing stylised versions of enlarged badges or stamps. He found images geared towards mass production through simplified form conveyed his message through an economy of means, which became the essential language of his paintings.  

John Wesley was born in Los Angeles and currently lives in Manhattan, New York (1928). His most recent museum retrospective was organised, curated by Germano Celant and organised by the Fondazione Prada (2009). In 2014, John Wesley was commissioned to create a public artwork for the High Line, New York.

Donald Judd was born in Excelsior Springs, Missouri (1928); died New York (1994). His last solo museum show in his life time was The Whitney Museum of American Art, New York (1988). Numerous museum shows since his death include Tate, London (2004) and a forthcoming retrospective at the Museum of Modern Art, New York (2020).

1. Alanna Heiss, 'Conversations with John Wesley', in John Wesley: Paintings 1961-2000, (New York: P.S.1, 2000), p. 21.

2. Hannah Green, John Wesley, 'Donald Judd: Remembrances' Artforum, Summer (1994), p. 114.

3. Donald Judd, Complete Writings 1959-1975 (New York: Judd Foundation, 1975), p. 154.

4. Donald Judd, 'In the Galleries', Arts Magazine, April (1963).

ALISON JACQUES GALLERY
16-18 Berners Street, London W1T 3LN
www.alisonjacquesgallery.com

Art Collection of Max Palevsky Christie's Auctions

Highlights from The Collection of Max Palevsky tour started today at Christie's Paris where it is exhibited through September 21, followed by Christie’s Hong Kong from October 2-6, then to Christie’s London from October 9-14 and finally in Christie’s New York from October 21-27, 2010. 

The Collection of Max Palevsky is a superb group of over 250 works ranging  from Antiquities to those by the most significant artists from the Impressionist and Modern and Post-War and Contemporary periods.  The collection will be offered throughout multiple auctions starting in October 2010 at Christie’s New York and is expected to realize from $53 million to $78 million. 

Short biography of Max PALEVSKY (1924-2010) - Born in Chicago, he was an innovator and forerunner in computers and systems technology. His work continues to influence computing technology today. After serving in World War II, he traveled to New York and became fascinated with an exhibition on modern architecture at the Museum of Modern Art.  It was then that he began to envision what a modern utopia could be.  Palevsky was trained in mathematics and engineering and had a love for the literature of Balzac and Proust. In 1951 Palevsky leapt from a job as a philosophy professor at the University of California, Los Angeles to pursue computers technology, a fledgling field.

“We saw a class of problems that should be solved by computers, but for which no computers were being built.” — Max Palevsky, 1967

He worked early on at firms including Bendix Corporation and Packard Bell Computer Corporation.  In the early 1960s he  was a  proponent of small and medium-size business computers — a market he intuited was neglected by IBM and other leading firms at the time —  and co-founded Scientific Data Systems, which he eventually sold to Xerox in 1969 for close to $1 billion. He helped found Intel Corp. and then exited the corporate world for other endeavors such as film production, then politics supporting Democrats George McGovern, Robert F. Kennedy, Jimmy Carter and Gray Davis. He also invested in a passion of his, Rolling Stone magazine. Palevsky began collecting art later in life, which enriched his homes in Beverly Hills, Malibu and Palm Springs, Calif.

“Max Palevsky’s keen intellect, passion for mathematics, computer systems and philosophy is acutely reflected in the works he collected,” said Marc Porter, chairman of Christie’s America.  “From Fernand Léger, whose obsession with the machine age echoed Palevsky’s own, to Richard Lindner’s robotic women and Alexander Calder’s riveted steel sculptures, there is a sense of order and symmetry to the collection.  Palevsky’s art collection offers insight to his genius.”

The Collection of Max Palevsky comprises Antiquities, Impressionist and Modern Art, Post-War and Contemporary Art, 20th Century Decorative Arts and Design, Prints and Multiples, Japanese Art, Latin American Art, American Sculpture and  Modern British Art.

Highlights from The Collection of Max Palevsky within Christie’s Impressionist and Modern Art Evening Sale to be held on November 3, 2010 in New York, include five works by the French artist Fernand Léger (1881-1955). Most notable is Léger’s La Tasse de Thé 1921 (estimate: $8,000,000-12,000,000), a depiction of a voluptuous curvilinear woman against a geometric background of contrasting forms in primary colors. It belongs to Léger’s pivotal series of the early 1920s, which culminated in his seminal masterpiece Le Grand Déjeuner, on display at the Museum of Modern Art in New York. It is the top lot in the Palevsky collection.  Femme sur fond rouge, femme assise, painted in the 1920s (estimate: $5,000,000-7,000,000) shows Léger in his most daring and reductive style, placing a woman in tones of steely gray and black against a flat crimson background. 

Max Palevsky’s love of Balzac inspired him to collect a series of Auguste Rodin bronzes related to the sculptor's commission for a monument to the author. Balzac étude finale (estimate: $500,000-700,000), depicting the imperious Balzac in costume, is the highlight of the group. Other exciting versions of the Balzac subject will be offered in the following Day Sale on November 4. 

Also a part of the Impressionist and Modern Art Evening Sale is Giorgio Morandi’s poetic Natura Morta (estimate: $700,000-1,000,000), a still life of a carafe and two canisters in muted tones and an Egon Schiele work from 1911, named Liegender Akt mit schwarzen Strumpfen (estimate: $1,000,000- 1,500,000), depicting a nude woman lounging.

For the Post-War and Contemporary Art Evening sale to be held on November 10, 2010, at Christie’s Rockefeller Center flagship, the highlights from The Collection of Max Palevsky include: Tableau Noire, a painted steel stabile sculpture completed by Alexander Calder in 1970 (estimate: $2,500,000-3,500,000), four works by Donald Judd including Untitled, 1980, a signature Judd stack comprised of 10 units of stainless steel and red anodized aluminum (estimate: $2,000,000-3,000,000) and Roy Lichtenstein’s Girl in Mirror, 1964 (estimate: $3,000,000-4,000,000) depicting a flaxen-haired woman smiling at her reflection in a hand mirror in porcelain enamel on steel.

Frank Stella’s Telluride, 1960-1961 (estimate: $4,000,000-6,000,000) is a rare and important example from his copper painting series, the majority are in museums and institutions. The T-shaped painting with striations in copper oil paint is a testament to Palevsky’s fondness for symmetry. Four lots by Richard Lindner are also slated to be sold in the Post-War and Contemporary Evening Sale. Most notable is West 48th Street, 1964 (estimate: $600,000- 800,000) which shows a woman with breasts exposed wearing a fantastically-harsh metal corset juxtaposed with a ladylike handbag and opera-length gloves.

The standouts in the Antiquities auction on December 10, 2010 include: A Roman Marble Athena, circa 1st-2nd Century A.D. (estimate: $200,000-300,000), A Roman Marble Head of Aphrodite, circa 1st-2nd Century A.D. (estimate: $150,000- 250,000) and A Roman Marble Herm of a Draped Female, circa 1st-2nd century A.D. (estimate: $250,000-350,000).

Palevsky’s collection of Decorative Arts was international, but also focused on the richness of American decorative art in the early 20th century.  Christie’s 20th Century Decorative Arts & Design department will offer several pieces from The Collection of Max Palevsky on December 15th, 2010, including a group of leaded glass windows by the likes of Frank Lloyd Wright, Morris & Co. and Louis Sullivan; works by Tiffany Studios and an enameled silver vase by Archibald Knox for Liberty & Co. (estimate: $70,000-90,000).

On October 26, 2010, Christie’s will offer several works from The Collection of Max Palevsky in the Prints and Multiples Sale in New York.  The key features in that sale are Pablo Picasso, Buste de Femme au Chapeau, 1962 (estimate: $220,000-280,000) as well as several works by Roy Lichtenstein and Richard Lindner.

On the Square: Art Elemental Form

 

More than half a century of artists' meditations

on art history's most elemental form.

 

Josef Albers, Tara Donovan, Tony Feher, Dan Flavin, Alfred Jensen,

Donald Judd, Sol LeWitt, Robert Mangold, Agnes Martin,

Louise Nevelson, Ad Reinhardt, Lucas Samaras,

Joel Shapiro, James Siena, Keith Tyson, Corban Walker

 

© JAMES SIENA, Untitled (Iterative Grid), 2009
enamel on aluminum painting 29" x 22-3/4"
Courtesy PaceWildenstein, New York

 

© JAMES SIENA, Untitled (Iterative grid, second version), 2009
enamel on aluminum painting 19-1/4" x 15-1/8"
Courtesy PaceWildenstein, New York

 

PaceWildenstein presents a group exhibition that brings together works by some of the most significant artists of the twentieth and twenty-first centuries, paying homage to the square, an elemental form that has helped to define and shape the practice of modern and contemporary art.

The exhibition features sculptures and paintings by 16 artists, including Josef Albers, Tara Donovan, Tony Feher, Dan Flavin, Alfred Jensen, Donald Judd, Sol LeWitt, Robert Mangold, Agnes Martin, Louise Nevelson, Ad Reinhardt, Lucas Samaras, Joel Shapiro, James Siena, Keith Tyson, and Corban Walker. On the Square will be on view at 32 East 57th Street gallery from January 8 through February 13, 2010.

In the late 1960s, Sol LeWitt famously articulated the value of the square’s (or the cube’s) “uninteresting” form: “Released from the necessity of being significant in themselves, they can be better used as grammatical devices from which the work may proceed. The use of a square or cube obviates the necessity of inventing other forms and reserves their use for invention.” Indeed, “the square,” perhaps the most stabile, enduring, and neutral form, a New York art critic argued in her homage to this elemental form in 1967, provides a universal standard that is as attractive in its precision and neutrality to the space age as it was to early philosophers and theologians.”

From deconstruction to reconstruction, creation and re-dissolution [1], for the artists included in this exhibition, the square and its permutations have served as a frame for formal invention. Josef Albers, Alfred Jensen, and Ad Reinhardt used the square as the basic organizing framework for their systems of color theory. Josef Albers once explained that he “prefer[red] to think of the square as a stage on which colors play as actors influencing each other—a visual excitement called interaction.” The arrangement of squares within Josef Albers’ Homage to the Square paintings and prints were “a convenient carrier” for his color “instrumentation”—a “container for and a dish to serve [his] cooking in.”

The square was an important defining unit for Minimalists and Conceptualists, who used more objective methodologies with mathematical and logic-based systems.  Artists such as Donald Judd and Sol LeWitt focusing on spatial organization through sculpture, used the box as the basic unit with which to define real space. “The problem is for any artist to find the concatenation that will grow,” Judd once explained. He emptied space of its inessentials and then re-articulated it with carefully placed objects: closed or open, stacked—vertically or horizontally, placed on the floor, hung on the wall, colored in one or multiple colors; the spacing of the units became as important as the pieces themselves.

The square remains an important element for artists working today. The square enables Joel Shapiro to move fluidly between figuration and abstraction, as he conjoins elongated boxes into evocative constructions. With a nod to minimalism, Tony Feher articulates the repetition of the form in stacked plastic beverage crates (Century Plant, 2002), revealing beauty in the simplest gesture.

The exhibition also includes works by James Siena, Tara Donovan, and Keith Tyson, who use subunits to create works resulting in multiple variations. In pieces such as Keith Tyson’s Geno Pheno Sculpture: “Automata No. 2,” the cube serves as the fundamental component for the phenotype generated by the base. The square is the foundation for James Siena’s enamel on aluminum paintings from 2009, as his visual algorithms cascade into dizzying, pulsating patterns. With the square, a jumble of straight pins finds order and clarity in Tara Donovan’s shimmering Untitled (Pins), 2004.

 

[1] Ad Reinhardt, “25 Lines of Words on Art Statement” from It Is (New York), Spring 1958.

Donald Judd Retrospective at Tate Modern, London

Donald Judd

Tate Modern, London

19 September 2002 – 19 January 2003

Tate Modern and the Stedelijk Museum collaborate on the first major survey of the work of DONALD JUDD (1928-1994) since the artist’s death. The exhibition is the first full retrospective of Donald Judd, one of the most influential American artists of his time.

Donald Judd began his career in the 1950s as a writer on art, and continued throughout his life to produce a distinguished body of writing. After briefly making highly reductive paintings, by 1962 he was making reliefs and fully three-dimensional work. In 1971 he acquired a disused army base in Marfa, Texas, where he was able to show in permanent installations both his own work and that of artists he admired.

Donald Judd’s sculpture is both elegantly austere and surprisingly sensual. The power of his severely rectilinear and often serial works lies in their overwhelming presence. Arranged along the wall, across the floor, or rising in stacks, his work has a powerful, physical and optical presence and often incorporate the space around them. To the surprise of some, from the mid-eighties vibrant colour played an increasing part in his work and he is now seen as an important colourist. At the time of his death in 1994, the New York Times observed ‘By the late 1960s, his sleek cubic and rectilinear works had helped redefine the direction of postwar sculpture’.

The exhibition begins with a remarkable series of handmade works from the early 1960s. These illustrate Donald Judd’s development of a new vocabulary of sculptural form. The exhibition then explores Donald Judd’s floor and wall-based box works of the 1960s and 1970s made from industrial materials such as galvanised iron, steel, plexiglass and plywood, and the wall-mounted stacks and progressions, which often have a subtly decorative finish, using brightly coloured lacquer or polished metals such as copper or stainless steel. The exhibition moves through the 1980s with a series of unusually coloured wall pieces of bolted steel, as well as a series of floor pieces from 1989, in which light, reflections, colour and volume work together to create works of great subtlety and beauty.

The exhibition is curated by Nicholas Serota, Director of Tate, and Rudi Fuchs, Director of the Stedelijk Museum, Amsterdam, and benefit from their long standing personal and professional relationship with the artist and his oeuvre. The exhibition is also being organised in close collaboration with the Judd and Chinati Foundations, the institutions founded by the artist in Marfa, Texas and with the Marianne Stockebrand, Curator and Director of Chinati. 

The exhibition is accompanied by a fully illustrated catalogue, additionally reproducing works related to those in the exhibition as well as views of Donald Judd’s installed works. It includes essays by the two curators and additional essays, selected writings by and interviews with Donald Judd.

TATE MODERN

www.tate.org.uk

Donald Judd, Susan Inglett Gallery, NYC - Drawings

Donald Judd: Drawings
Susan Inglett Gallery, New York
23 May - 29 June 1996

Susan Inglett presents an exhibition of drawings by DONALD JUDD curated by David Platzker.

While Donald Judd was best known for his sculptures, or "specific-objects", his drawings present the best rare evidence of the artist's own hand.

For the Minimalists, absence of hand was as much an artistic gesture as a political one. In their efforts to redefine and perfect the art object, Donald Judd and contemporaries including Dan Flavin, Carl Andre, and Robert Morris, regularly engaged professional fabricators. By doing so drawing became a necessary tool to communicate the particulars of the work to be executed.

Additionally, Donald Judd made drawings in order to document sculpture produced or as project proposals. The drawings presented in this exhibition dated 1964 to 1984 describe proposals for a selection of metal and concrete sculptures.

They are, in essence, the raw material from which Donald Judd would hone, refine, perfect his consummate "specific-object".

SUSAN INGLETT GALLERY
100 Wooster Street, New York
www.inglettgallery.com