Description
Donald Judd: Cor-ten represents the first-ever focused examination of Judd’s works in Cor-ten steel, which he began to produce in earnest in 1989 and would continue to elaborate on until his death in 1994.
The work of Donald Judd, one of the most significant American artists of the postwar period, has come to define Minimalist art, a label to which the artist strongly objected. The unaffected, straightforward quality of Judd’s work demonstrates his strong interest in color, form, material, and space. Wanting to create works that could assume a direct material and physical presence without recourse to grand philosophical statements, Judd eschewed classical ideals of representational sculpture and created works that relied on clear, definite objects.
Cor-ten is an alloy that makes steel more resistant to corrosion, and eliminates the need for paint. With its distinctive red-brown patina, Cor-ten afforded Judd a new medium for exploring the relationship between surface and volume, as well as color and form. Prior to 1989, Judd executed a handful of works in Cor-ten primarily as outdoor commissions or site-specific works. This volume is produced on the occasion of the 2015 exhibition at David Zwirner, New York. Designed in close collaboration with Flavin Judd and Judd Foundation, Donald Judd: Cor-ten sheds new light on a body of work that represents the culmination of three decades of aesthetic output and underscores the mastery and control over material and space that characterizes Judd’s practice as a whole.
The work of Donald Judd (1928-1994), one of the most significant American artists of the postwar period, has come to define what has been referred to as minimalist art-a label to which the artist strongly objected on the grounds of its generality. The unaffected, straightforward quality of Judd's work demonstrates his strong interest in color, form, material, and space. With the intention of creating work that could assume a direct material and physical "presence" without recourse to grand philosophical statements, he eschewed the classical ideals of representational sculpture to create a rigorous visual vocabulary that sought clear and definite objects as its primary mode of articulation.
Claudia Jolles (24.7.1958/Vienna) studied art history, archaeology and german literature from 1979-84 at the universities of Bern, Geneva and Zürich (lic.phil.I). 1985 she was Collaborator of the show of Ilya Kabakov, "On the Margin", Kunsthalle Bern (Musée Cantini, Marseille; Kunstverein Rheinlande und Westfalen, Düsseldorf; Centre des Arts Plastiques, Paris). Since 1989 she is working as a curator and freelance artcritic for different medias. Since 1996 she is editor in chief of Kunstbulletin, Zürich - the most read art magazine for contemporary art in Switzerland.
Flavin Judd is artistic director of Judd Foundation and the son of Donald Judd. He oversees art installations, curatorial matters, and architectural projects for the Foundation including the design of the 101 Spring Street restoration in 2013. His art exhibitions, films, publications, and buildings have all been recognized with awards. He is coeditor of the recent publication Donald Judd Writings (2016). He lives with his family in France.
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