Programs

Casa Perez Ranch Day

Judd Foundation is pleased to host an Open House at Casa Perez, Donald Judd’s ranch house outside Marfa, TX.  Please join us for an afternoon of free food and drink, a hike, music, and a talk. Free and open to the public.

September 30, 2018
11:00am-4:00pm

11:00am hike with Randy Sanchez, Judd Foundation
12:00-1:30pm free food from Convenience West (first come, first served).
1:30pm talk by Aimee Roberson, Coordinator of the Rio Grande Joint Venture for the American Bird Conservancy, on the importance of healthy grasslands for birds and other wildlife.
2:00pm Ballroom Marfa Botanical Collage Workshop. Learn about herbarium samples while collaging native plant material with artists Jeff Keeling & Sandra Harper.
Music provided by David Branch of Marfa Public Radio’s “Honky Tonk Happy Hour.”

 

Directions to Casa Perez
Travel south on Pinto Canyon Road / Ranch Road 2810. Casa Perez is located 12 miles past the end of the paved road. High clearance vehicles required.

For more information please contact:
marfa@juddfoundation.org
432-729-4406 ext. 100.

This program has been made possible through the generous support of The Brown Foundation, Inc., Houston, and a grant from the Texas Commission on the Arts.

 

 

Donald Judd: Paintings 1960-1961

Donald Judd: Paintings 1960-1961
September 22 – December 8, 2018
Public opening: Friday, September 21, 2018 6:00-8:00pm
Public hours: Thursdays, Fridays & Saturdays 1:00-5:30pm

Judd Foundation is pleased to present Donald Judd: Paintings 1960-1961, nine works by the artist on the ground floor of 101 Spring Street in New York. The exhibition will be on view from September 22 through December 8, 2018.

Judd began as a painter before transitioning to work in three dimensions in 1962. A largely understudied part of his oeuvre, his paintings from the early 1960s incorporate a series of stylistic transitions that reflect his interests and development as an artist. Oil paintings made between 1956 and 1958 feature irregular shapes that are neither strictly organic nor geometric, whereas in later paintings from 1960 to 1962 Judd made use of repeating forms, a reduced color palette, found objects, and wax and sand to build up the canvas, plywood, or Masonite surfaces.

In a 1971 interview with John Coplans, Judd states of the work, “Two things were going on in the painting: some of the earlier ones were organic and had curved lines; secondly, they were illusionistic to some extent, and I very steadily got tired of both things and tried to get rid of spatial illusionism, but I couldn’t get rid of it. So even in a painting like the red one with the gray stripes, painted in 1961, which is just all surface, there is still a spatial play around the lines.” He continues “… one also had the problem that there were at least two things in the painting: the rectangle itself and the thing (image) in the rectangle, which is true even in Newman’s. You couldn’t get around that. The only paintings that didn’t have that kind of problem were Yves Klein’s—the blue paintings. But for some reason I just didn’t want to do monochrome paintings.”¹

The nine untitled works in the exhibition, four from 1960 and five from 1961, reflect Judd’s experiments with a variety of techniques and the possibilities for creating non-illusionistic space in two dimensions. Judd incorporated found objects into the support of the paintings and added wax and sand to his paint to create a definite surface. While the paintings were less illusionistic than most contemporary work, given the constraints of painting, Judd could not realize his spatial goals, specifically the creation of actual rather than illusionistic space. In his shift to three dimensions, Judd often used metal, acrylic sheets, and plywood in which color was inherent in the material itself, as opposed to the applied color of painting, which would be characteristic of his work in the forthcoming decades.

The formal shifts in Judd’s paintings, as well as his move to work in three dimensions, coincided with his tenure as an art critic. From 1959 to 1964, Judd reviewed hundreds of shows across the spectrum of contemporary art. The knowledge gained from this consistent viewing of new work, undoubtedly affected his practice, particularly his transition from painting to the use of found objects and the fabrication of works in three dimensions. Work by artists including John Chamberlain, Claes Oldenburg, Yayoi Kusama, and Lee Bontecou provoked a new direction in his work.

Judd’s paintings remain an infrequently seen body work outside of Judd Foundation spaces in Marfa, where he permanently installed his paintings from the mid-1950s to the early 1960s in the Cobb House, Whyte Building, and Architecture Studio. Only two exhibitions have focused on his early work, a retrospective at the Kunsthalle Bielefeld (May 5-July 21, 2002) that then traveled to The Menil Collection (January 31-April 27, 2003), and an exhibition of late paintings at the Institute of Contemporary Art, Miami (April 5-June 24, 2018). Donald Judd: Paintings 1960-1961 marks the first presentation of these works in New York. Curated by Flavin Judd, the exhibition will be accompanied by public programs looking at Judd’s painting practice.

Donald Judd: Paintings 1960-1961 is made possible with support from Catherine Lagrange.

1 John Coplans, “An Interview with Don Judd,” Artforum, June 1971.

101 Spring Street Archtober Guided Visit

Judd Foundation is pleased to participate in Archtober with a Guided Visit of 101 Spring Street. Tickets can be purchased through our website for the October 17 tour.

In 1968, Donald Judd purchased 101 Spring Street, a five-story cast-iron building designed by Nicholas Whyte and constructed in 1870. Serving as his New York home and studio, 101 Spring Street is the place of origin for Judd’s ideas on permanent installation and is the only surviving single-use cast-iron building of its era in the SoHo Cast-Iron Historic District. 101 Spring Street is listed on the National Register of Historic Places.