Local History

Gardens were an important element of Donald Judd’s conception of space. The same concerns that he used to develop indoor spaces were also central to the creation of outdoor spaces.

In celebration of the 50th anniversary season of the Trisha Brown Dance Company, an overview of Trisha Brown and Donald Judd’s collaborations.

Barnett Newman was viewed by Donald Judd as one of the most significant artists of the previous generation. Both artists were selected for the U.S. Pavilion at the Eighth São Paulo Bienal in 1965.

In his 1990 essay, Donald Judd recounts his dealings with the Italian art collector Giuseppe Panza, detailing Panza’s fabrication of his work without his permission and in some instances, without his knowledge.

Part IV of the series ‘Local History: Selections from Judd Foundation’s Photo Archive,’ explores historic photos of Donald Judd's ranch house Casa Perez.

Part III of the series ‘Local History: Selections from Judd Foundation’s Photo Archive,’ explores historic photos of Donald Judd’s first ranch house, Casa Morales.

Part II of the series ‘Local History: Selections from Judd Foundation’s Photo Archive,’ explores historic photos of La Mansana de Chinati.

A four-part Local History to explore selections from Judd Foundation’s archive of historic photos. Each of these four installments will focus on one space, beginning with photographic documentation of the development of 101 Spring Street.

Lauretta Vinciarelli was an architect, artist, and professor of architecture. Born in Arbe, Italy and raised in Rome, she attended graduate school at the Università di Roma La Sapienza, earning her doctorate in architecture and urban planning.

In the late 1960s, Donald Judd travelled in the Southwest United States, throughout Arizona and New Mexico in search of a place that would be amenable to living and also allow him to work on a large-scale.

In 1990, Donald Judd purchased a two-story building on the main street of Marfa. He created a working architecture office on the first floor and made a space for living on the second floor.

In the summer of 1960, Donald Judd moved into a loft on 53 East 19th Street in New York City. 19th Street was where he wrote the majority of his early art criticism and where he made many of the paintings.

In his 1986 essay, “On Furniture,” Donald Judd opens with the contention that furniture and architecture must be functional, as opposed to art.

Donald Judd made eight different sets of works in editions ranging from three to two hundred. As diverse as his unique works in three dimensions, Judd’s works in editions were made for the floor, the wall, and the table in a range of materials.

Donald Judd studied painting at the Art Students League of New York from 1948 to 1953, his paintings from the mid-1950s onward saw a series of stylistic transitions.

In spring of 1968, the Whitney Museum of American Art hosted a major exhibition of works by Donald Judd, the first in a series of exhibitions devoted to younger artists.

Donald Judd often reviewed over fifteen shows a month as a for-hire art critic during a six-year period from 1959 to 1964. This period of Judd’s writing is notable for the categorical utterances housed within brief reviews.

Donald Judd's library at La Mansana de Chinati/The Block in Marfa, Texas demonstrates his extensive interest in Russian architecture; he collected over two dozen books on this topic.

Founded by Richard Bellamy, Green Gallery opened in 1960. In January 1963, just a few months after Donald Judd published “New York City-A World Art Center,” he exhibited three works in 'New Work: Part I.'

The fall of 1959 was significant for both Yayoi Kusama and Donald Judd; Kusama had her first solo show in New York City in at the Brata Gallery in October and Judd was hired to write reviews for 'ARTnews' in September.

In 1982, Donald Judd purchased Casa Perez, one of three ranch houses on the 40,000 acres of land that he collectively called Ayala de Chinati.

Exploring areas of the Southwest that might be suitable for developing his large-scale work, Donald Judd drove down from New York traveling to the town of El Rosario in Baja California, Mexico.

Donald Judd was a member of Board of Visitors of the McDonald Observatory, one of the world’s leading centers for astronomical research situated in some of the darkest night skies in the continental United States.

The development and production of Donald Judd’s furniture resulted partially from necessity. His solution was to design very simple beds out of one-by-twelves, a cut of wood that with limited manipulation yielded simple, elegant, and functional construction.

As Donald Judd renovated the buildings at La Mansana de Chinati/The Block in Marfa, he designed furniture for the property. By 1994, Judd had designed nearly one hundred pieces of furniture, as well as objects such as cups, saucers, and plates.

Donald Judd's practice as a critic reflects the diversity of the curatorial interests of the early 1960s in New York, with reviews as wide-ranging as those on the work of Tao Chi to a review on the Inca of Peru.

In June 1970, 'Artforum' asked a number of artists "What is your position regarding the kinds of political action that should be taken by artists?" Responses were published in the September 1970 issue and Judd's statement includes some of his most powerful political remarks.

A new series from the Judd Foundation Archives to share visual and textual documentation of Donald Judd's life and work contained within the Archives as a tool to understand the diverse range of his thinking.