“In the summer there are twelve cottonwoods around the pool, which in the winter become an elevated thicket. There is also a courtyard with a small garden of plants that stay green all year. The winter is bleak. This place is primarily for the installation of art, necessarily for whatever architecture of my own that can be included in an existing situation, for work, and altogether for my idea of living.”
-Donald Judd
Donald Judd’s 15 untitled works in concrete (1980-1984), at the Chinati Foundation in Marfa, Tex. Photo Credits: Vincent Dilio
via: thepacegallery
via: la-cinq
Donald Judd
Untitled (88-28 A/B Menziken)
1988
brushed aluminum with blue plexiglas 2 units, each Unit
19 5/8 x 39 3/8 x 19 5/8 inches
via: mtrt
donald judd, untitled (for joseph beuys), set of 4 woodcuts (1986)
via: gilliflower
(Source: mo-artgallery.com)
The Judd Oral History Project had its start in 2006 when a local public radio station in Marfa, Texas, wanted to air a series of interviews with people who had known and worked with Judd, whose abrupt move there from New York in 1972 radically transformed the sleepy prairie town into an outpost of the international art circuit. When the proposal reached the Judd Foundation, however, the foundation’s at-the-time newly arrived executive director, Barbara Hunt McLanahan, saw it as an opportunity to gather material for the Judd Foundation’s archive. Meanwhile Rainer Judd, the Judd Foundation’s President and Historical Consultant and a filmmaker in her own right, felt that voice-only radio interviews would not do justice to the rich store of material at hand: as she says, ‘you want to see their faces, don’t you?’
(Source: youtube.com)
Most art is fragile and some should be placed and never moved away.
— Donald Judd
(Source: eloquentandhonest)
