DONALD JUDD
·
Heartney,
Eleanor. Art & Today. London:
Phaidon Press Limited, 2008.
The third chapter in Eleanor Heartney’s Art
and Today, ‘Art and Abstraction: Retreat from Purity’, provides a comprehensive
overview of abstraction within art. This concept is traced from its post WWII
origins as a movement away from utopian thinking, through formalism, abstract
expressionism, minimalism, and pop art, to postmodernism, post minimalism and
art as we know it today. Given the broad
informative nature of the book, individual artists are only mentioned briefly,
so this chapter was not used particularly for investigating Donald Judd specifically.
It was however very useful in contextualising his work, framing it with
preceding movements to show influence, and following movements to show impact.
·
Batchelor,
David. Movements in Modern Art:
Minimalism. London: Tate Publishing, 1997
This book outlines the key concepts and
practicing artists of the movement retrospectively termed as ‘minimalism’. It
deals with in particular the work of people such as Donald Judd, Robert Morris,
Carl Andre, Dan Flavin, Frank Stella and Sol LeWitt. The book is carefully
structured, providing information about each of the artists under the headings
of ‘Introduction’, ‘Of Painting and Sculpture’, ‘Of Objects and Subjects’ and ‘Of
Texts and Contexts’. This categorisation provides a frame of progression in
which Judd’s work can be followed, alongside that of his peers.
·
Coplans,
John. Don Judd: By John Coplans for the
Pasadena Art Museum. Pasadena: The
Castle Press, 1971.
This book was written to accompany the 1971
exhibition of Judd’s sculptural and relief work at the Pasadena Art Museum. It
is divided into three sections; an introductory essay, an interview between
John Coplans and Donald Judd, and a pictorial inventory of the exhibition. The
essay provides a wealth of information about the artist’s practice and work, as
well as information specific to this exhibition, including its context and its inclusion
of only Judd’s metal works. More important, however, is the interview, which
through its nature succinctly provides signposted, specific responses from Judd
that directly address his art making motives and intentions.
·
Warwick
Thompson, Paul; Bloemink, Barbara; Cunningham, Joseph; Judd, Donald; Burton,
Scott; Tuttle, Richard. Design ≠
Art. Functional Objects From Donald Judd to Rachel Whiteread. London:
Merrell Publishers Limited, 2004.
This book dissects the relationship between design and art through the inclusion of essays that support, contest and reconcile this relationship. After which, the artistic writings referenced in these essays are included, predominantly Judd’s 1993 essay, ‘It’s hard to find a good lamp’. It is this essay that he states: ‘the art of a chair is not its resemblance to art, but is partly its reasonableness, usefulness, and scale as a chair…’ – ultimately differentiating between art and design and crucially articulating his idea that a thing or materials’ beauty essentially lies within it; a concept which defines his art making practice and greatly improved my understanding of it.
BIBLIOGRAPHY
·
Batchelor, David. Movements in Modern Art: Minimalism. London: Tate Publishing, 1997
·
Coplans, John. Don Judd: By John Coplans for the Pasadena Art Museum. Pasadena:
The
Castle Press,
1971.
·
Heartney, Eleanor. Art & Today. London: Phaidon Press Limited, 2008.
·
Butler, Adam; Van Cleave, Claire; Stirling,
Susan. The Art Book. London: Phaidon
Press
Limited, 1994.
·
Warwick Thompson, Paul; Bloemink, Barbara;
Cunningham, Joseph; Judd, Donald; Burton,
Scott; Tuttle, Richard. Design ≠ Art. Functional Objects From Donald
Judd to Rachel Whiteread. London: Merrell Publishers Limited, 2004.
·
Getlein, Mark. Living With Art. New York: McGraw-Hill, 2008.
·
Donald
Judd. Tate Modern. www.tate.org.uk/modern/exhibitions/judd/
(Accessed:
24/3/12)
·
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